September 10th & 11th 2010
MIDDELHEIMMUSEUM ANTWERP
OPENING and PARTY on Friday September 10th 2010
19h - 21h: OPENING: castle Middelheim
Performance by Mikes Poppe
21h - 02h: PARTY: circus tent / bar
DJs Lieven Segers and Peter Verwimp aka The Sorry Sex Partners
LINE BOOGAERTS, LIEBERT DE BLESER, SVEN GOYVAERTS, KATIE LAGAST, ULYSSES OST, LAURENCE PLUMIER, MIKES POPPE
ERROR #16 is a two-day exhibition and ERROR
ONE party in light of Monument Vergara : the
installation : 'La vie d'une oeuvre d'art' by Angel Vergara in the expo Nieuwe Monumenten in the
Middelheimmuseum in Antwerp. For the ERROR ONE project, young artists are
showing videoworks, paintings, installations and performances inside the
stately Middelheim castle. The party itself will take place at the very centre
of Monument Vergara, a circus tent / summer bar;
the epitome of a lively and momentary site of encounter. Angel Vergara has put
the circus tent / bar aside the castle.
ERROR #16 puts entertainment next to experimentation and seriousness. Or is it the other way around?
The exhibition is open on Saturday September 11th from 10h until 19h, running simultaneously with the expo Nieuwe Monumenten in the Middelheimmuseum.
INFO:
September 10th 2010 from 19h opening exhibition castle Middelheim
September 10th 2010 from 21h party circus tent / bar
September 11th 2010 from 10h to 19h exhibition castle Middelheim
Entrance to Middelheim via small parking at Middelheimlaan 63, Antwerp
Free admission to exhibition and party
info@errorone.be
www.errorone.be
Project Description
Research by Abhilash Ningappa
supported by: APASS, Antwerpen
Danskias Residency, Vienna
Dancers involved: Harald presenter, Gosia symula,
Artemis lampiri,Paola Zamperolo, Or hakim,
Christie, Verena steiner, Gina
Empty your mind, be formless… shapeless, like water. If you put water into a cup, it becomes the cup. You put water into a bottle; it becomes the bottle. You put it into a teapot; it becomes the teapot. Water can flow, or it can crash. Be water, my friend
Bruce lee
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Research in Lopital,Antwerpen:
its all started with defining the liquid and the solid state in a movement language, what does it mean to become a liquid, how this quality in the body can react into certain situation. whats the physical expression for stress and relax. what does connects and disconnects our mind and body. in an other level we started playing on strength and weakness, we title strong as KILLER and weak as VICTIM, so the body goes through the process of killer victim state and solid liquid state. during the research we realized the body takes more of a killer role when it goes through the liquid state. and somehow becomes a victim when its solid. the solid state comes from stress and brings a blurry image in front of our eyes. the range of your vision becomes short in a neurological sense. you just don't see the things in front of your eyes, like the people in the tram listening to music and gets completely disconnect from the whole world. means start receiving things from the external space. may be thats why we don't see the stars in the day time, because there are other things affecting us and stopping us to see what we want to see, i heard if you stand inside the deep well, you can able to see the stars in the day time, because you limit your space around you and your eyes can easily see more deep and more precise. the process started with two people coming close and take a roles of killer victim , there is an establishment in the beginning which takes place in order to feel this role as being a killer victim, the killer is a strongest as i mentioned in the beginning, and for how long? the body starts to take a role of the victim after sometimes because it cant be in the solid state for a long time and it feels even heavier when the victim taking a role of liquid state, because the victims body is reacting to this closed atmosphere and tends to take a role of a killer. the heaviness increases as the victim starts to react from this state, sometimes its possible that the victim can become a killer by doing nothing. doing nothing is the strongest decision here because its close to the liquid state, liquid moves only when there is a gravity pulling towards certain direction and the space offered, otherwise it stays quiet but strongly grounded acquiring as much space as possible. there is a martial art principle which says, being connected with the centre and letting the body feel grounded is the most stable position one can achieve , like a container filled with water. when you cant lift you can only pour but huge amount of strength required. but just a small hole in the container is enough to spill the water out.this space we titled it as DOOR whenever body is in the closed atmosphere there is always a open DOOR which we don't see because of the stress and waiting for the moment. i think we always loose the moment when we wait for the moment, because moment is not related to time because we only feel the moment but we don't see it. i mean the mind cant see it. the moment happens when the time is NOW. waiting doesn't exist. if the task is to create a moment then we need other things like an activity which can trigger emotions and let the moment happens. moment shows the way to the DOOR , we tried to look for these doors in the closed atmosphere and its more visible when the body takes the liquid state. the mind is calm like water and you start to feel the water flow in the direction of the space offered, and you become the strongest (killer) by doing least amount of physical action, because just a feeling of liquid in our body is strong enough to make the way out of the situation. what happens to the killer is quiet reverse the more it starts to melt the more it becomes heavy and the role of the killer is in the victim state. when we did this task the roles were constantly changing because of the dialogue between the body and mind and the dialogues between two body and two mind. the information travels from one person to an other person. because of the closed body contact , our senses starts to receive information from an other persons and the body and mind starts to react. our mind and body deals has this killer and victim instincts and its irregular and the other body feels it and reacts to it. of course the other body has its own way of making decision and somehow it does gets affected by the information but reacts according to its own mental and physical state. being water is the feeling of going through informations and finding its way. like a river flowing in between rocks(information). these rocks tells water where to go but water makes its own direction according to its physical state. these rocks are the information coming from an other source or other body which we are dealing at that moment. the reaction of body is quiet clear and somehow it react exactly how it reacts in a real life situation. when you are stressed you get sick , thats a simple reaction from body for your stress. when we take a tram to the airport and we are late we cant able to sit and relax even though we know that we cant change anything by walking around in the tram. the stress wont allow you to sit and even take a breath or when you stand in a signal and if you are late. you stare at the red light, this staring is created from the stress.
we were exploring things which makes our body going through all these information and observing reactions
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Research in PAF:
we started with a disciplined practice of dealing with stress. we were informing body about the situation and asking our body to go through the safe practice. we put as much information as we can the prepare our body to deal with situation. we made our body to go through this feeling of water. we learnt to become strong and we were trained to react strongly.after certain period of time, we made a time limit to go through all the information and let the body react to it. as soon as we put our body in space, we were bit occupied with people around and the space and atmosphere. the stress starts to appear , we started losing all the information we received during our practice. there was a war zone situation, we captured in a video and we watched it and we realized we are quite unsuccessful in bringing this liquid state when its been put into a certain context, in this case it was the time and the space which created stress, the limitation of space and time and then the relation with people around related to this time and space is what the reason the stress is created. the reaction was quite aggressive but it is our nature. its not just our bones and flesh which is solid but also our mind. when we explored this water quality in our bodies , the movement was more fluid and we can even feel this surface tension. when we take a shower the water takes as much space as it can on the skin and then moves towards the ground. it even ignores gravity and stay in contact with the skin. when we explored this water quality, it was so hard to ignore the touch, it even attracts the contact and stay. may be thats the reason we can let things go out from us when we are in contact with the other person. only the water can stay in contact and still finds its way.
the stress appears from touch and the flow is the way out or way around. the more you look for way out the more you are trapped. staying and dealing with situation is more efficient than leaving , leaving doesn't mean doing nothing. doing nothing and still existing is the hardest but strong decision. it needs courage.
Violence has been the way of expression of the man kind for ages. In this work we are trying to investigate fights the most simple form of human aeration and incorporate it in to a movement theater. We are dancers, each from different cultures, backgrounds and experiences in dance, but still curious about exploring movement together, still trying to communicate on different levels.
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Dans.kias Residency:
The first phase of the project was a residency in Vienna at Dans.Kias studio were we where researching some ideas together with other dancers. We then continued to develop the ideas with dancers in India and other countries. As a collective we now want to continue this process towards a further research and production.
We aim discover different approaches to what means fight for us in a daily process, each bringing in his or her own dance-background, but also skills from other art forms as Karate, Kung fu, singing or Acting.
On one hand we work on the technique, how to handle a fight situation, we aim to create Partnering phrases with attack and defense movements. Our focus lies on the real situation in which you need to defend yourself. As dancers we research, how to do this, while it’s not so important to follow the exact rules of one specific Martial Art, but to use whatever could help us as strategy to get out of the situation where somebody tries to force us to stay in.
On the other hand, researching the real situation of a fight makes us question, what the term fight actually means. When does a person start to fight? Where does the confrontation get so dangerous that we call it fight? Is the point, where the person is still thinking and mentally handling the situation, a real fight? Or does this real fight start when the real fear comes, in the moment where you’re conscious self reflection stops; the body saves its energy and just reacts as fast as possible?
Working Method
The work is based on physical as well as ideological exploration of fighting situations, confrontation in between two bodies so two people and two forces.
Body preparation:
Basic Exercises from Kung Fu, karate and kalaripayattu (mostly focusing on training reflect, speed, different qualities of movement, concentration and coordination) - Intensive body work; yoga, breathing exercises including pranayama,- Working on the mobility of spine, exercises based on Axis Syllabus and Feldenkrais methods.
Description of the physical tasks during our first residency:
We were working on physical tasks and exercises which are based on techniques used in martial arts. During the process we were also composing improvised fighting sequences which were the combination of forms used in partnering and Contact Improvisation. Nevertheless it was all our creative work and exploration. One of the exercises which had the biggest impact on our understanding of fighting situation was about creating a situation in which one person is limited in the movement but still trying to escape from attack. The task was very physical because attacking person had to create almost maximum limitation. This situation was a starting point of fighting, arriving in the moment were there is no more freedom to move. Used force and limitation are evoking the physical and mental reaction. Dancers who are fighting in couples are going through different stages of feelings and emotions; often they have to face their own borders. It is a very rich and deep experience and getting even more intensive when partners are trying to escape from each other. Exploring physical reaction on situation where people are getting close on the fighting field is raising lots of question that appear in mind:
Am I enjoying being close before fight, what exactly do I feel? Where are my borders/limits? When and why do I want to escape or when and why am I enjoying fighting the most? Why am I curious about the next move even though it seems to be difficult to defense or attack?
We physically induce situations in which we experience the real necessity for defense. The moment of not having another chance but to fight is created for example by lying under several persons who don’t let you move. This specific physical state evokes a strong emotion, which makes you panic and concentrate all your energy to the single goal to escape, or as another reaction to attack. With experimenting the overload of a body with physical manipulations we experience the state of the “mindless” body.
We also ask for the situations in which we fight. In which relation the fighters stand to each other, which physicality do they use?
Is the voice a fighting instrument? By practicing Voice exercises we find out how to use the strength of voice and how it can affect the appearance in a fighting situation.
Another approach we work on is given by questioning our awareness: What do we perceive as fight? How is the body moving so that we call it fighting – maybe also fighting with itself? And finally the question arises : Where does the need for attack actually come from? What brings the peaceful person in the state of attacking?
Another very interesting aspect of fighting situation is concentration. Concentrating might be perceived as an action of coming into deep dialogue with your body and mind. Being able to arrive in a different state of mind is helping to be calmer in fighting. Sometimes the calmer is your mind the more alert becomes your body. In danger, in confrontation we tend to wake up senses very fast. Another exercise which is worth to mention was helping the dancers to reach a deeper state of sensation and awakening senses. Dancers were working in couples where one person was a leader and another had to follow the instructions so given directions of movement with closed eyes. That helps to develop trust or experience the lack of trust, to become more alert. Bringing another person into “unsure” is the most efficient way to awake the senses. The last exercise I want to describe shortly has a lot of potential to be interpreted and explore in a different contexts. It might even explain the social aspects of fighting situation.
Dancers were standing in front of each other in a distance and slowly moving to each other. From the moment they got closer, they were coming into “hug”. In the “hug” one person always tried to stop another, create limits, even to be annoying so that the other person was truly wishing to escape. That exercise was very physical and intensive, sometimes evoking states of aggression or fear. This fight was turning into longer improvisation which was developing into different directions. It was traveling between the moments of high physical intensity through softer dance. Such improvisation is like a constant dialogue. It might be a nice picture/metaphor of the situations when people somehow cope with each other. It is beautiful to observe that in dance. From my point of view dance is just reflecting us… How we deal, how we are in dance or in fight usually tells a lot about how we are in everyday life but also it is interesting to play with it!
Social aspects of fight
During the process we were also discussing a lot about different state of body and mind in the moment of confrontation. We were mostly trying to understand the reasons of fight, the way of behaving in fight, some reactions in body (conscious and unconscious) emotions that appear, reaching the state of calmness, acknowledging the power.
Conclusion
Fighting appears on a different platform of our life. You might say that it starts from the moment we open our eyes every morning because sometimes we have to fight tiredness or particular mood in order to start a new day. There are some days in our life when we are fighting like mad. Fighting for rights, fighting for love, for life for the things we carry the most. We never want to loose, rather be always ready and prepared, feeling strong enough to handle the difficult situations. How beautiful it is not let the nerves take over! In order to get familiar with the state of calmness we might want to build our inner strength. To do this we should get familiar with the state of fight, start to explore the situation of confrontation more deeply. It helps to understand ourselves more, to be able to recognize our limits. And finally to be able to survive in the wild world which might give us an impression of beautiful heaven but we never know when and how will disappoint…
For us it’s always interesting to explore various situations (in that case fight) through physicality. It requires mature approach and openness for the new situation especially when a person doesn’t come from a martial arts background. Trying to understand the nature of the fight leads us to different approaches of this situation. It was worth to explore and experience that in this movement research because I realized that fighting is a beautifully powerful dance and a constant game. Why do we play? I think each has a reason…
Project Motivation:
What we are interested in is looking at an interdisciplinary approach to dance. Rediscovering both martial art and contemporary dance through each other. The martial arts is predominantly seen as aggressive or brutal but if you see a real master you see the calmness, they are like dancers, they move at the right place right time. They breath, they stay still, grounded they are soft movers. Both these fields offer a completely body centric approach, knowing your body, knowing the space around you, letting your breath move your body and explore.
Attack
Counter attack
Defend
Reach out
Stay
Walk away.
Space becomes as alive as the body throbbing with absence and presence, being cut, sliced, made whole again with bodies in it, out of it. Time is an integral part of both these disciplines and more so in the martial arts. It’s a fight, a fight where your body is your weapon as well as your armor. A wrong step or a wrong move can be fatal. It is interesting to apply this to dance, to see your other dancers as opponents. Martial arts presuppose a fight between good and evil. The bad guys and the good guys those are available in most movie genres. The protagonist and the antagonist propelled by their own desires, their own ambitions. Life isn't so clear cut and dry, the world is not divided into the good and the evil. The shades of grey dominate such spaces. The antagonist is as much a shade of grey as the protagonist. Why is it that the hero always wins? I was thinking what if the bad guy wins because he is more courageous? Or maybe luck favors him? Looking at us performers the performance for us is like one big fight, we prepare like hell and we perform and then we get ready for another one. Somehow we are all fighters inside. Battle is symptomatic of the kind of lives we lead today. We fight for everything with everyone. We fight in relationships, in friendships. We fight for our views, for our beliefs. We fight against fighting.

Bergson writes about
"la politesse comme l’amour de l’égalité, une passion profonde pour la justice"
Niiiice, noooo?


Sunday. 6 thirtynine am. the tour of the curch in front of the window. blur juxtapositions of bird singings through the opening. sudently many blue question marks all over the screen. internet connection went down, off. don't refresh.
Facebook Igor Dobrovic, July 19th at 10.19 am : "Meditation is a performance of a delay, is confirmation of a gap, is encounter with a void, is a care for the self. Only a self that cares about its no-thingness can approach the thingness of an aparatus without being caught inside (or outside) of it". July 19th is the birthday of my expired brother. I wanted to call home that day, somehow I didn't. This morning at 5. Sitting went fine, listening to all the noises and movements that visit the body. Body wants to move, body wants to keep the back straight, body remembers that smile inside, that video clip on youtube. Body tastes that flavour, body wants to look inside. Inside the aparatus I wanted to say but lets' just say inside. H sitting at few steps away. Her universe, my universe and the gap in between. The feeling the hearing the thinking. That was what my research wanted to be about, when it started as a want. Tags. Time. Travel. This trick first happened last year, three words in a line as if - why sentences? Why structure? Why not just events? Or facts.
Water. Fresh chill air. Sun, rays, clouds. Feeling the bones on the chair. Feeling. Remembering feeling. Feeling the memory, imagining the feel of it. Imaginaring. Imaginarig a warm shower and a cup of coffee. No, no coffee today, let's keep the restrictions. Yesterday I had one, integrated error. Accepted failure. Today there will be something else. The bell of the church goes on 7 times.
ah hahaaa and some more serious stuff :
"One way of resolving the dilemma in this case is simply to conclude that, at least according to Kant’s technical definition of knowledge, artists do not know what they are doing. They just do it, and allot to the critics and art historians the task of figuring out what it means and why they bothered. This comforting interpretation, too, has some plausibility: Many artists do, indeed, find it extremely difficult to theorize about what they are doing while they are doing it. It may take years, if ever, before an artist can put together an intelligible commentary about his work that helps it to make sense to everyone else; and surely this is in part to be explained by precisely that direct, intimate and unmediated relationship between the artist and the concrete particular he fashions. That particular is too complicated and overwhelming, too cryptic and multifaceted in its connections and associations, to be captured accurately in even the most fine-grained analysis – simplistic text-book descriptions and classifications of it notwithstanding."
from Piper's "Intuition and Concrete Particularity in Kant’s Transcendental Aesthetic (2006)"
http://www.adrianpiper.com/docs/WebsiteIntuit&ConcrtParticTransAesth(2006).pdf
A film by Oliver Ressler, 118 min., 2009
“What is democracy?” is not one question, but is actually two questions. On the one hand, the question relates to conditions of the current, parliamentary representative democracies that are scrutinized critically in this project. On the other hand, the question traces different approaches to what a more democratic system might look like and which organizational forms it could take.
The project asked “What is democracy?” to numerous activists and
political analysts in 15 cities around the world, in Amsterdam,
Berkeley, Berlin, Bern, Budapest, Copenhagen, Moscow, New York, Rostock,
San Francisco, Sydney, Taipei, Tel Aviv, Thessaloniki and Warsaw.
The interviews have been recorded on video since January 2007. Even
though all interviewees were asked the same question, the result was a
multiplicity of different perspectives and viewpoints from people living
in states that are usually labeled “democracies”.
This pool of interviews builds the basis for a film in eight parts, which (re)presents a kind of global analysis about the deep political crises of the Western democratic model. In one video, Adam Ostolski (Warsaw) explains that originally “the modern idea of democracy was connected to the notion of progress” and parliamentary states “had some tendency to become more and more democratic by including new types of political actors, such as workers and women. […] But since the 1980s, since the neoliberal trend in politics and economy we have a regression of democracy.” Lize Mogel (New York) notes that situation changed in such a way, that when you think about representative democracy today “you are not necessarily talking about individuals being represented, but more capital being represented.” Nikos Panagos (Thessaloniki) even argues that “representation and democracy are incompatible terms. Therefore, under no circumstances could the present system be called a democracy. It is just a sophisticated form of oligarchy.” While some subjects in the videos elaborate their ideas of direct democracy or decision-making processes of indigenous communities, David McNeill (Sydney) raises the issue of whether it makes sense “to continue contesting for the right to own and define the term democracy” or whether “it has been so corrupted and polluted by the conservatives that claimed ownership of it, that it is better to be surrendered.”
The film discusses the contested notion of “democracy”, which is misused for the maintenance of order by those in power, while at the same time “democracy” still represents an ideal hundreds of million people in the South desperately want to achieve. Today it seems almost impossible to be against “democracy”, even though it is getting emptier and emptier. A potential strategy could try to fill what is called “democracy” with new meaning. In this sense, the film presents a multi-layered discourse on democracy, which expresses a broad field of opinions that go beyond the borders of nation-states and continents.
The film has eight parts with the following titles: “Rethinking representation”, “Politics of exclusions”, “Secrecy instead of democratic transparency”, “New democracies?”, “Is representative democracy a democracy?”, “Direct democracy”, “Reclaiming Indigenous politics” and “Should we consign the Western democracy model to the ash heap of history?”
I am wondering how could i change the meaning of an image by including odour.
During the 1st block i was researching using different approaches: anthropological, philosophical and scientific to widen the ground of my research and get more aknowledgement about the role and the fonction of the smell.
I was focusing more in anthropological know-how of sensory, more precisely how the smell is related, directly or not, to certain trade (ref: Mémoires et expérience olfactives, anthropologie d’un savoir-faire sensoriel. Joël Candau)Putting my daily self-experience with smell on the side i wanted to know how nostrils can play a prior role in the professions that are directly linked or not with scent.For example where the perfumer will explore the whole olfactive space, the oenologist will interpretate the odour in order to get informations about the evolution of the wine and the fireman will select all smells that, in a short time, can be integrated in the global apprehension that he can have of a disaster.This knowledge and know-how are acquired most of the time without thinking about it, implicitly, just by doing daily cognitives tasks according to the job. The distinction between two poles of dealing with smells in professions emerge: on one part working with smells (perfumer, oenologist…) and on the other interpretate it (nurse, fireman…) In the second case the interactions created by sharing informations will help to define words and build a common vocabulary around this sense. The smell has the reputation to be discreditate also because we don’t have enough words, distinctions, language subtilities to share our perception without being too subjective or not understood.
Sharing smells, sensations would be a way to materialize molecules.
There is always more to smell than what comes in the nose, this “more” can be either associated to idiosyncratic reaction and social and cultural determinations.Working on the categorization of smells, sociological aspect of smells and also create a dictionnary that has to do with “smell in performance” are the points that i would like to develop in the next blocks…
In the video bellow i’ve edited a meeting with Corinne Caufriez that is assisting the director of groupe GENES. I’ve been doing olfactive tests that have been done last year during “ la fête de l’environnement” in Brussels and got to know more about the activities of this ASBL giving their olfactive abilities to help citizen….The second part of the video is the beginning of an experiment about the construction and the categorization of smell. I went on the street and i’ve asked to people 2 questions, giving them the video camera, living them free to focus and frame smells…
play in full screen HD
June 25th 2010 - 1h30min lecture presentation +
group
discussion
Anne Helmond is New Media
PhD candidate with the Digital Methods Initiative at the Mediastudies
department at the University of Amsterdam where she studied New Media
from 2004-2008. For our Social Media & the Avatar Day,
organized at the Memories of the Future symposium in Vooruit Ghent, we
invited Anne to elaborate on her paper IDENTITY 2.0 - Constructing identity with
cultural
software.
Brus and Mühl participated in the "Kunst und Revolution" (Art and Revolution) event in Vienna, issuing the following proclamation:
... our assimilatory democracy maintains art as a safety valve for enemies of the state ... the consumer state drives a wave of "art" before itself; it attempts to bribe the "artist" and thus to rehabilitate his revolutionising "art" as an art that supports the state. But "art" is not art. "Art" is politics that has created new styles of communication.
Before starting apt:
My research started as an ¨experiment¨ that was influence by
my kibbutz. The experiment: A group of artists will shape a single performer -
me.
In the application I suggested an ¨experiment¨ of 10 steps.
During the process collective interventions, discussions and voting were the
main ingredients to reach decisions. ¨The artistic environment will be
used as a tool to study social behavior. The interaction within the social
reality, the ¨real life¨, will be then the main aspect for arriving at a
creative result where the ¨artistic¨ and the ¨real¨ will be interdependent of
one another.¨ Why to choose ¨me¨ as and individual? I am an example, an out
come of another attempt that failed to reshape humanity in an Utopian
manner. I am my research object, so I want to disconnect from being
attached to ¨me¨ personally. I am observing my reactions to the one that
observe me and I observe the observer. I am the observer of my reactions
to the relations I establish.
I started by reading the basic historical rules of the
kibbutzim movement. I also read documents describing the struggles people had
trying to define how to live an utopia in the real world.
I spoke to the person (nachshon Golds ) that few years ago
had a court case against the kibbutz movement. He claimed that he was a part of
an experiment which as a child could not refuse participation and that he is
mentally damaged by it.
Starting apt:First week.
Already after the first week of overwhelming, sometime
speechless, interactions, my approach to my ¨experiment¨ started to crack. I
experienced again group discussions. I have to admit, much more intellectual
then in the kibbutz where I grew up. One group discussion was
particularly influential. It was about: paradox. Thus as a result I was
wondering: do we need oppositions at all? I started to reflect over the way
opinions and assumptions are exchanged and form them selves. In that period I
spoke to Piet Joostens about communism. We spoke about the democratic elements
of elections, voting and the representation of the majority. It finally
register to me that those are all tools of empowering and control and are in
contradiction to my life travel of seeking communication, so why should I
manifest them again? I realize that my ¨experiment¨ has to change. I have to
discover the underworld of decision-making mechanism. Why do we discuss,
give opinions and let the majority decide? Then language, once more appeared to
be the focus of my imagination. If the juggler of speech becomes the
representative, ¨the majority¨, in a process of discussion, how can the hidden
messages come to life? How can language become a more equal landscape for
us to travel on, with out restricting variety of expression?
By reaching those shores of understanding I found out many
great people were and are dwelling on the same matter.
Reenactment work shop
The prominent aspect of the workshop personally was the
beautiful text of Peggy phelan ¨The anthology of performance¨. The other , the
woman, minority, the invisible with in the representation of the western
cultural world, all those terms assembled into a performative depiction. The
invisibility became a potency of structure flexibility. Performance is an
example of a construction which can never be copied. Every repetition or
documentation of it creates a new set of reciprocal events of exchange.
The context of reenactment has a significant roll in my
research. It emerged out of the necessity to reexamine the collective decisions
mechanism that had a dominant impact on my life as a Kibutsnik. As a result I
was playing with the idea of launching myself back to the kibbutz and reenact
with the remaining inhabitants a cultural event. That event should have a
particular connotation between the historicity of the place and the current
affairs.
Workshop collaboration - nicolas y galeazzi
The encounter with Nicolas and the display of potentials in
portraying the collaboration discourse were a big shift in understanding my
research. I realize that by departing from my authentic artistic circumstances
I entered in to a realm of political and social perspectives and influences.
We examined collaboration according to economical
development and political consequences. Some of the texts we read had a
significant influence. For example:
Jacques Rancière : The Emancipated spectator
¨an ignorant could teach another ignorant what he did not
know himself¨
The collective performance is a performance that is
not a product. It is a chain of interaction that allows people to exchange and
influence the creative moment, not only to consume it.
Florian schneider : the term collaboration originates from
operating with in the enemy structure. According to that the outsider is the
one ¨that will manage to add critically to pre-established power relations of
expertise¨ (Markus miessen)
Bojana Kunst write about reexamining the protocols,
the script , the set of rules. By acknowledging the protocols the artistic
process can find the ¨virtual spaces in between¨ to operate. ¨Inter
territorial spaces , in which connection among many different cultural,
historical and artistic experiences are at work.¨ ( Bojana Kunst)
The major focus, in my eyes, of the workshop was capturing
art as a direct and allusive field in the relation to economical political
structures. What is my position concerning collaboration as a social reference?
What would I want to enhance in the complexity of reflections between the
individual self and the value of a collective assembly?
Some of the aspects that came to display were:
decentralization, delegation, changing rolls constantly in the decision
mechanism, lost of authorship oppose to branding oneself, micro relationship to
distribute understanding with in the group, gathering people like thoughts, to
detached from identification to a project, anonymity or ignorance as strategies
of coming together, anti-hierarchical, anti-dialectic, anti- representative.
Reconfiguring my conceptions:
-Looking for methods of discussions as game format to
generate symbiotic interactions.
-Investigating composition of adding information and
opinions instead of dialog of disagreement.
-Approaching the experiment as one body of negotiations and
create a framework where people can join in.
-Create a space between the object of discussion and personal
identification. The accent is not on personal outlook but on changing
perception.
-Merging in to collaboration by tolerating distinctions,
diverse voices to coexist.
-Changing rolls thus everybody play all sides of the game.
By that diminishing the success of the I.
Out of all those recognitions and after a mentoring talk
with dear Nicolas the configuration of ¨give me a piece¨ appeared. It was a new
dimension in the process that interdicted another approach: Open up the
experiment to make a piece with the ¨whole world¨. To divide a performance to
its elements: movement, text, surroundings, music, light and so on. I will ask
people to give me information concerning one of those subcategories of a
performance. I will create all kind of systems of interaction. Can be a
discussion or an action with one or more participants that as a result I will
have an aspect of a piece. I will constantly bring the aspects together and
reshape the piece according to new interactions.
The points of reference were:
-How to realize the elements of a piece with the others?-
how to invent new impute and a flexible structure of generating material- me as
an empty container – how to define through the others my own thoughts?
city of illusion

Published in Polygraph n°17, 2005 (special issue "The Philosophy of Alain Badiou", Matthew Wilkens ed.), p. 143-155. Translation by Laura Balladur
In contemporary thought on aesthetics, one distinguishes philosophical alternatives according to their ability or willingness to address two major questions :
1) How much truth can art (still) bear ?
2) Is there, strictly speaking, such a thing as art ?
Can contemporary art educate us for truth ?
The preceding quote already suggests that the ambivalent montage known as "inaesthetics" translates less a theoretical contradiction or tangle (as Rancière suggests) than a concern for the ethical and political efficacy of art. What is at stake is the educational potential art. Badiou makes the wager, not only that art is capable of producing immanent truths, but that art teaches truth. As we saw, this very education must occur under the condition of philosophy, so to speak. It is philosophy’s responsibility to claim that art can provide an education to truth. And it is indeed a wager, which brings us back (this time most directly) to our first question : how much truth can art still bear ? Because the whole problem comes from the fact that truth, like the event, is rare. In the beginning citation, the definition of inaesthetics stems from "the existence of several independent works of art." What to do, in this case, with most artistic productions ? Must these be relegated to the ranks of non-art, placed alongside standard products of the culture industry that feed the usual aesthetic consumption ? And what to do if, as Badiou writes, "art is dubious," if "the present of art is only its own uncertainty, its fusion (or confusion) in the vague productions of bodies (or of capital-bodies) ?" What to do if "art repudiates all truth, or creates truth from the consumable absence of all truth ?" (24) "Inaesthetics is clear if art is obvious. As the horizon of art, does not non-art impose, strangely, an aesthetic ? An aesthetic of chaos, for example ?" In this case, inaesthetics must defend the axiomatic strength of art, "and reclaim, if need be, a return." The work is twofold. First, philosophy must pull itself together and not abandon its own productions to a commentary that, "under the guise of its devotion to the experimentation of the body of art," increasingly "incorporates production, fills a gap, compensates as best as it can in the chalky concept, the sinister deficiency of the sensible." Second, it is necessary to dream, to invoke (short of creating it) "a new regulated art" : "as rigorous as a mathematical demonstration, as surprising as an ambush in the night, and as elevated as a star." (25) This formula of Badiou’s occurs in the twelfth of his fifteen theses on contemporary art (collected under the title "Draft for a Manifesto of Affirmationism"). How to say it more clearly ? Despite all its "latent aesthetic," inaesthetics is not just another aesthetics : it’s a slogan.


Project Description:
Violence has been the way of expression of the man kind for ages. In this work we are trying to investigate fights the most simple form of human aeration and incorporate it in to a movement theater. We are dancers, each from different cultures, backgrounds and experiences in dance, but still curious about exploring movement together, still trying to communicate on different levels.
The first phase of the project was a residency in Vienna at Dans.Kias studio were we where researching some ideas together with other dancers. Abhilash Ningappa then continued to develop the ideas with dancers in India and other countries. As a collective we now want to continue this process towards a further research and production.
We aim discover different approaches to what means fight for us in a daily process, each bringing in his or her own dance-background, but also skills from other art forms as Karate, Kung fu, singing or Acting.
On one hand we work on the technique, how to handle a fight situation, we aim to create Partnering phrases with attack and defense movements. Our focus lies on the real situation in which you need to defend yourself. As dancers we research, how to do this, while it’s not so important to follow the exact rules of one specific Martial Art, but to use whatever could help us as strategy to get out of the situation where somebody tries to force us to stay in.
On the other hand, researching the real situation of a fight makes us question, what the term fight actually means. When does a person start to fight? Where does the confrontation get so dangerous that we call it fight? Is the point, where the person is still thinking and mentally handling the situation, a real fight? Or does this real fight start when the real fear comes, in the moment where you’re conscious self reflection stops; the body saves its energy and just reacts as fast as possible?
The work is based on physical as well as ideological exploration of fighting situations, confrontation in between two bodies so two people and two forces.
Body preparation:
Basic Exercises from Kung Fu, karate and kalaripayattu (mostly focusing on training reflect, speed, different qualities of movement, concentration and coordination) - Intensive body work; yoga, breathing exercises including pranayama,- Working on the mobility of spine, exercises based on Axis Syllabus and Feldenkrais methods.
Description of the physical tasks during our first residency:
We were working on physical tasks and exercises which are based on techniques used in martial arts. During the process we were also composing improvised fighting sequences which were the combination of forms used in partnering and Contact Improvisation. Nevertheless it was all our creative work and exploration. One of the exercises which had the biggest impact on our understanding of fighting situation was about creating a situation in which one person is limited in the movement but still trying to escape from attack. The task was very physical because attacking person had to create almost maximum limitation. This situation was a starting point of fighting, arriving in the moment were there is no more freedom to move. Used force and limitation are evoking the physical and mental reaction. Dancers who are fighting in couples are going through different stages of feelings and emotions; often they have to face their own borders. It is a very rich and deep experience and getting even more intensive when partners are trying to escape from each other. Exploring physical reaction on situation where people are getting close on the fighting field is raising lots of question that appear in mind:
Am I enjoying being close before fight, what exactly do I feel? Where are my borders/limits? When and why do I want to escape or when and why am I enjoying fighting the most? Why am I curious about the next move even though it seems to be difficult to defense or attack?
We physically induce situations in which we experience the real necessity for defense. The moment of not having another chance but to fight is created for example by lying under several persons who don’t let you move. This specific physical state evokes a strong emotion, which makes you panic and concentrate all your energy to the single goal to escape, or as another reaction to attack. With experimenting the overload of a body with physical manipulations we experience the state of the “mindless” body.
We also ask for the situations in which we fight. In which relation the fighters stand to each other, which physicality do they use?
Is the voice a fighting instrument? By practicing Voice exercises we find out how to use the strength of voice and how it can affect the appearance in a fighting situation.
Another
approach we work on is given by questioning our awareness: What do we
perceive as fight? How is the body moving so that we call it fighting
– maybe also fighting with itself? And finally the question arises
: Where does the need for attack actually come from? What brings the
peaceful person in the state of attacking?
Another very interesting aspect of fighting situation is concentration. Concentrating might be perceived as an action of coming into deep dialogue with your body and mind. Being able to arrive in a different state of mind is helping to be calmer in fighting. Sometimes the calmer is your mind the more alert becomes your body. In danger, in confrontation we tend to wake up senses very fast. Another exercise which is worth to mention was helping the dancers to reach a deeper state of sensation and awakening senses. Dancers were working in couples where one person was a leader and another had to follow the instructions so given directions of movement with closed eyes. That helps to develop trust or experience the lack of trust, to become more alert. Bringing another person into “unsure” is the most efficient way to awake the senses. The last exercise I want to describe shortly has a lot of potential to be interpreted and explore in a different contexts. It might even explain the social aspects of fighting situation.
Dancers were standing in front of each other in a distance and slowly moving to each other. From the moment they got closer, they were coming into “hug”. In the “hug” one person always tried to stop another, create limits, even to be annoying so that the other person was truly wishing to escape. That exercise was very physical and intensive, sometimes evoking states of aggression or fear. This fight was turning into longer improvisation which was developing into different directions. It was traveling between the moments of high physical intensity through softer dance. Such improvisation is like a constant dialogue. It might be a nice picture/metaphor of the situations when people somehow cope with each other. It is beautiful to observe that in dance. From my point of view dance is just reflecting us… How we deal, how we are in dance or in fight usually tells a lot about how we are in everyday life but also it is interesting to play with it!
Social aspects of fight
During the process we were also discussing a lot about different state of body and mind in the moment of confrontation. We were mostly trying to understand the reasons of fight, the way of behaving in fight, some reactions in body (conscious and unconscious) emotions that appear, reaching the state of calmness, acknowledging the power.
Conclusion
Fighting appears on a different platform of our life. You might say that it starts from the moment we open our eyes every morning because sometimes we have to fight tiredness or particular mood in order to start a new day. There are some days in our life when we are fighting like mad. Fighting for rights, fighting for love, for life for the things we carry the most. We never want to loose, rather be always ready and prepared, feeling strong enough to handle the difficult situations. How beautiful it is not let the nerves take over! In order to get familiar with the state of calmness we might want to build our inner strength. To do this we should get familiar with the state of fight, start to explore the situation of confrontation more deeply. It helps to understand ourselves more, to be able to recognize our limits. And finally to be able to survive in the wild world which might give us an impression of beautiful heaven but we never know when and how will disappoint…
For us it’s always interesting to explore various situations (in that case fight) through physicality. It requires mature approach and openness for the new situation especially when a person doesn’t come from a martial arts background. Trying to understand the nature of the fight leads us to different approaches of this situation. It was worth to explore and experience that in this movement research because I realized that fighting is a beautifully powerful dance and a constant game. Why do we play? I think each has a reason…
Project Motivation:
What we are interested in is looking at an interdisciplinary approach to dance. Rediscovering both martial art and contemporary dance through each other. The martial arts is predominantly seen as aggressive or brutal but if you see a real master you see the calmness, they are like dancers, they move at the right place right time. They breath, they stay still, grounded they are soft movers. Both these fields offer a completely body centric approach, knowing your body, knowing the space around you, letting your breath move your body and explore.
Attack
Counter attack
Defend
Reach out
Stay
Walk away.
Space becomes as alive as the body throbbing with absence and presence, being cut, sliced, made whole again with bodies in it, out of it. Time is an integral part of both these disciplines and more so in the martial arts. It’s a fight, a fight where your body is your weapon as well as your armor. A wrong step or a wrong move can be fatal. It is interesting to apply this to dance, to see your other dancers as opponents. Martial arts presuppose a fight between good and evil. The bad guys and the good guys those are available in most movie genres. The protagonist and the antagonist propelled by their own desires, their own ambitions. Life isn't so clear cut and dry, the world is not divided into the good and the evil. The shades of grey dominate such spaces. The antagonist is as much a shade of grey as the protagonist. Why is it that the hero always wins? I was thinking what if the bad guy wins because he is more courageous? Or maybe luck favors him? Looking at us performers the performance for us is like one big fight, we prepare like hell and we perform and then we get ready for another one. Somehow we are all fighters inside. Battle is symptomatic of the kind of lives we lead today. We fight for everything with everyone. We fight in relationships, in friendships. We fight for our views, for our beliefs. We fight against fighting.








Invited by bolwerK : http://www.ooooo.be/greyzone/program-3.html
and then?
Day six. Label. Announcement. Departure.
I stick a label on the wall above the candle I used to glue the fingerprints, on
which I wrote with a pen:
I was here too / On my way (2010)
Intervention / Installation
Interventions, traces / wax, label, name card
Iuliana Varodi
Read the entire text here :
http://www.apass.be/apt.php?cwPage=browse%2Fprojectpage&cwProject=61&cwContent=588









7.07 this morning. Same morning rituals, short version. Bright sunny morning. Coffee. Cereals. Japanese green tea. Room, window, table, laptop, books. Looking for the ladybirds, where are they? One is on the table, laying on her elytra, with open wings pointing outwards, her legs up in the air. I blow on her; it makes her fly straight into the dustbin near the table. A soft pressure, as if breathing got stuck a moment too long, in a vague location around/inside the chest. Is death part of life? Soon on my way to the next unknown space-time destination. Saying goodbye to things, views, people. And to you, dear reader.
was there a day five, day four, day three, day two, day one? yes, they migrated here http://iulianavarodi.com/sixdays.pdf
the carrot as a fragment of Reality, the I, and their interaction
the experiment ( click to listen )
a sonic documentation of the process of melting between a carrot and the I
a way of exploring the in-between area of the Reality and the I, and observing the interaction
for the sake of the experiment, we take a little frame of reality, the carrot, and we let it interactt with the I in a spontaneous way .
observation: the carrot doesn't do a thing with the I, while the I feels like eating the carrot. the eating is the interaction. in the process the emerging questions are :
does that piece of reality becomes part of the I? does the I become a piece of reality by taking it in? is the carrot the overlaping zone between reality and I which slowly shifts from the domain of Reality into the domain of I?



HOPE WEEK 2 : 22 - 26 Feb 2010
THE CIRCULATION OF HOPE / IMAGINEERING THE NOW
or Everything you always thought you knew about hope, but are about to redefine!
collaboration between a.pt and Micromarché

In this practice-based workshop radical_hope and aude thensiau explore the mobility of hope within a city.
hope as the now, de-futurized
hope as a social body, de-individualized
hope as an social affect, de-personalized
hope as invention
hope as auto-poetry
hope as a moment of change
hope as a choreography
hope as movement
how can this hope be communicated throughout the city?
how can hope be an answer to your own question?
how can you reach people you don't know to join in the circulation of hope.
in this 5-day workshop we will develop different strategies to make hope mobile and volatile, make hope travel and return,
set up conversations with unknown participants, start up dialogues with non-present collaborators.Possible strategies,
probably
not to be used, but nice as a starting point: recounting, laziness,
branding, self-instruction, wild card invitations, object-chain
letters, ...
working times: 22 - 26 Feb, (monday to friday), 10-18h
last admissions: 20th of february
place: MicroMarché, Steenkoolkaai 9, 1000 Brussels




Live Laboratory Symposium
and Durational Performances,
Exhibition and Publication
21 - 24 January 2010


"We do not move in one direction, rather do we wander back and forth, turning now this way and now that. We go back on our own tracks . . .' That thought of Montaigne's reminds me about something I thought of in connection with flying saucers, humanoids, and the remains of unbelievably advanced technology found in some ancient ruins. They write about aliens, but I think that in these phenomena we are in fact confronting ourselves; that is our future, our descendants who are actually traveling in time."
Andrei Tarkovsky

Public space is both a battlefield and stage for those visions and ideas in which a society puts its faith. At a distance, it also discloses that which is blindly supported in this society. One can survey it as if it were a kind of societal relief, or a contemporary witness of history, as it reveals both conscious and unconscious orders and structures.
In those times when the common faith in ideas is particularly strong, signs of this faith are placed into public space in the form of monuments which make beliefs concrete to us, alert us of the destructive power of faith, and signal the successful displacement of other beliefs.

The loss of faith in grand ideas has shown its effect by the occupation of public space by private interests. As a result, less public space is reserved for the monumental. The new landmarks follow the logic of commerce. The power of the consumer and the economy is reflected in the layout and occupation of public space - chalkboards with menu options, billboards displaying the fashions of the season, pavilions for company meetings, closed-off zones for large-scale events.
“Between purchases they savor the spectacle of the constant disintegration of the complexes to which they belong … Were the Mediterranean lapping at the avenue’s edges, the shops could hardly expose themselves in a more windowless fashion. They disgorge a stream of commodities that serves to satisfy creaturely needs; it climbs up the facades, is interrupted at street level, and then shoots with redoubled force up into the heights on the far side of the crosscurrent passerby. … No one invented the plan according to which the elements of the hustle and bustle scribble a jumble of lines into the asphalt. There is no such plan. The goals are locked in the individual little particles, and the law of least resistance gives the curves their direction.” (S. Kracauer).
With the decline of grand narratives, the selling-out of public space into the form of a street fair has fully begun. That which gains ground is less utopian, and just as less monumental in its space requirement, however, no less hungry and, as a diversified phenomenon, particularly assertive.
Under the title “Utopia and Monument”, Sabine Breitwieser has developed a two-part program for the “Steirischer Herbst” festival, in which she applies art to a discourse on public space. Examples of the unspoken being openly expressed on the street – understood here as a social platform for self-exhibition – are sought out. At the same time, the scope of art for public statements is tested, as well as its competitive power within the struggle over limited public space.
Fourteen international artists were invited to participate. Until October 18th, they explore the question of the validity of art between privatization and the public sphere. Part Two of “Utopia and Monument” will follow next year. (wh/jn)
to see the video:
http://www.castyourart.com/en/2009/10/07/utopia-and-monument-steirischer-herbst-festival/






















From Wikipedia on spider webs:
There are a few types of spider web found in the wild; and many spiders are classified by the webs they weave. Different types of spider webs include:
Spiders have several spinneret glands located at their abdomen which produce the silken thread. Each gland produces a thread for a special purpose. Seven different gland types have currently been identified, although each species of spider will possess only a few of these types, never all seven at once.
Normally a spider has three pairs of spinnerets, but there are spiders with just one pair or as many as four pairs of spinnerets, with each spinneret having its own function.
During the process of making a web the spider will use its own body for measurements, a very practical and ergonomic design feature of any web. This will allow the spider to move quickly around its own web with very few faults.
It will start with the most difficult part of construction, the first thread. The spider effectively uses the wind to carry its initial adhesive thread. With some luck the silk is released from its spinners and carried by the wind to a suitable adherable surface. When it sticks to a surface the spider will carefully walk over the thread and strengthen it with a second thread. This process is repeated until the primary thread is strong enough to support the rest of the netting.
After strengthening the first thread the spider will continue to make a Y shaped netting. The first three radials of the web are now constructed. More radials are added making sure that the distance between each radial is small enough to cross. This means that the number of radials in a web directly depends on the size of the spider plus the size of the web.
After the radials are complete the spider will fortify the center of the web with about five circular threads. Then a spiral of non-sticky, evenly spaced, circular threads are made for the spider to easily move around its own web during construction. The spider then, beginning from the outside in, will methodically create the adhesive spiral threads. It will utilize the initial radiating lines as well as the non-sticky spirals as guide lines. The spaces between each spiral will be directly proportional to the distance from the tip of its back legs to its spinners. This is one way the spider will use its own body as a measuring/spacing device. While the sticky spirals are formed the non-adhesive spirals are removed as there is no need for them anymore.
After the spider has completed its web it will chew off the initial three center spiral threads then sit and wait. If the web is broken without any structural damage during the construction the spider does not make any initial attempts to rectify the problem.
Webs allow a spider to catch prey without having to expend energy by running it down. Thus it is an efficient method of gathering food. However, constructing the web is in itself an energetically costly process due to the large amount of protein required, in the form of silk. In addition, after a time the silk will lose its stickiness and thus become inefficient at capturing prey. It is not uncommon for spiders to eat their own web daily to recoup some of the energy used in spinning. The silk proteins are thus 'recycled'.






Hi, everyone~
I'm in Seoul now, it was about 25hours trip from Antwerp to here by the way of Tokyo(horrible!). Few days ago, I went to Nam June Paik Art Center which is newly opened with new big building nearby Seoul.
I'd like to introduce it's ambitious opening exhibition specially performance part (named Station 2). Unlike any other presentation, it is planned to show in the exhibition space blocked by partitions like any Biennales so that each performance could be shown consistently without time laps, tickets and audience seats.Various well known performance artists are invited like William Forsythe,Boris Charmatz and Romeo Castellucci. (maybe they are too established? Not at all in Korea...)
http://www.njpartcenter.kr/root/festival/html_eng/station_2_1.html
(Click the red bar to see each works)
Anyway, for me and Aptee who are interested in convergence with visual art or those who searching for alternative way might be helpful this information.
I miss all Aptees and Antwepen~
If you interest in this exhibition, I'll visit again and
would video taped and show at Apt.
So,,, more reply could push me to document this exhibition. ha~
from far far way city ,
Sungmin
- masturbating theater for homless-
Actually no one is masturbating in this.
By sitting audiences on chair to see performance, homless people under audience seat
could get heating through weight sensor. (more audience gets more heating)
and temperature of homeless(RFID) send to billboard in public space and performers.
So, It's win-win circulation from audience-homeless-performers and even gas co. and
government who organized out door performing art.






















Can You Feel The Love Tonight
artist: Elton John
album: Greatest Hits 1970-2002
genre: Pop
year: 2002
Because You Loved Me
artist: Celine Dion
album: All The Way...A Decade Of Song
genre:
year: 1999
Suddenly
artist: Billy Ocean
album: Greatest Hits
genre:
year:
Three Times a Lady
artist: The Commodores
album: 20th Century Masters
genre:
year:
Tonight I Celebrate My Love
artist: Roberta Flack
album: Softly With These Songs The Best Of Roberta F
genre: Rock
year:
Just the Way You Are
artist: Billy Joel
album: Greatest Hits Vol. 1-2
genre: Pop
year: 1998
Wonderful Tonight
artist: Eric Clapton
album: One More Car One More Rider
genre: Rock
year: 2002
Smoke Gets in Your Eyes
artist: The Platters
album: 20th Century Masters: The Best Of The Platters
genre:
year: 1999
What a Wonderful World
artist: Louis Armstrong
album: All-Time Greatest Hits
genre:
year:
When I Fall In Love
artist: Celine Dion
album: The Colour Of My Love
genre: Easy Listening
year: 1993
Boom! Shake the Room
artist: Dj Jazzy Jeff & The Fresh Prince
album: Jazzy Jeff & The Fresh Prince - Greatest Hits
genre:
year:
Everybody (Backstreet's Back)
artist: Backstreet Boys
album: Backstreet Boys
genre: Pop
year: 1997
No Diggity
artist: Blackstreet
album: Another Level
genre: R&b
year: 1996
Jump
artist: Kris Kross
album: Totally Krossed Out
genre: Rap
year: 1992
Pump up the Jam
artist: Technotronic
album: Pump Up The Jam
genre: Other
year: 1989
Cotton-Eye Joe
artist: Rednex
album: Sex & Violiins
genre:
year: 1995
Let's Talk About Sex
artist: Salt-n-Pepa
album: Blacks' Magic
genre:
year: 1992
Now That We Found Love
artist: Heavy D & The Boys
album: Now That We Found Love
genre:
year:
Who Let the Dogs Out
artist: Baha Men
album: Greatest Movie Hits
genre:
year:
Hot Hot Hot
artist: Buster Poindexter
album: Buster Poindexter
genre:
year: 1987
Y.M.C.A.
artist: Village People
album: The Best Of Village People
genre: Pop
year:
Macarena
artist: Los Del Rio
album: A Mi Me Gusta
genre:
year: 1994
Hokey Pokey
artist: The Champs
album: Tequila: Golden Classics
genre:
year:
Can't Get You Out Of My Head
artist: Kylie Minogue
album: Fever
genre: Pop
year: 2002
Billie Jean
artist: Michael Jackson
album: Vol. 1-Greatest Hits History
genre:
year:
Holiday
artist: Madonna
album: The Immaculate Collection
genre: Pop
year:
Like A Virgin
artist: Madonna
album: The Immaculate Collection
genre: Pop
year:
ABC
artist: Jackson 5
album: The Ultimate Collection
genre: Soul
year: 1995
Dancing Queen
artist: Abba
album: Gold - Greatest Hits
genre: Pop
year: 1992
Oh, What a Night
artist: The Four Seasons
album: Anthology
genre:
year:
We Are Family
artist: Sister Sledge
album: The Best of Sister Sledge (1973-1985)
genre: Soul
year:
Strangers In The Night
artist: Frank Sinatra
album: 20 Hits
genre: Ballad
year:
My Way
artist: Frank Sinatra
album:
genre:
year:
Joy To The World
artist: Three Dog Night
album: The Best Of '3 Dog Night'
genre:
year:
Tequila
artist: The Champs
album: Tequila: Golden Classics
genre:
year:
You Can't Hurry Love
artist: Diana Ross & The Supremes
album: The Ultimate Collection
genre:
year:
Can't Help Falling In Love
artist: Elvis Presley
album: ELV1S 30 #1 Hits
genre:
year: 2002














Het Geluid I Maastricht
Maastricht, 22nd of April 2008
Dear organizing committee of Das FRIEDENSDPROJECT,
BERLIN 2008,
Hereby we theatre collective Het Geluid, Maastricht,
The Netherlands
Would like to propose our successful performance:
KIBUYE for your project.
Kibuye is based on Clea Koff’s book The Bonewoman or
Die Knochenfrau. At 22 years old, just graduated as forensic anthropologist
Koff leaves the US for Kibuye, Rwanda, to help open up a massive mass grave.
With a sort of professional distance and a great moving care and engagement
Koff speaks about the difficult work and the histories behind it. A post modern
tragic tale with an ancient ring. Clea koff is our present day messenger. In
Kibuye like in the old Greek plays the violence is described but not shown. So
via our ear the images will hunt our eyes. In a mediatised world where the
amount of images sometimes seem to make us numb. This play is a simple but
shocking revelation. Clea Koff is an impressive human being who without any
shame can say: I did something important in this world. For us Clea Koff is a
very inspire ring person who comes from a perspective of professionalism,
dealing with painful truths to a very realistic but moving approach to a new
concept of peace.
Kibuye played
with much success at several festivals in the Netherlands like ITS festival,
theaterfestival Amsterdam and opened at the coup in hometown Maastricht.
Het Geluid is an interdisciplinary theatre
collective: based in an old factory in
Maastricht, The Netherlands. In the Euregion on the border with Belgium (near
Hasselt and Liege, 15 min) and Germany (Aachen, 15 min)
Existing of graduates from Maastrichts Famed drama
school and operasingers, journalists, dancers, musicians and thinkers. Het
Geluid thinks beyond and crosses the borders of countries and the different
arts. It specializes in non theatre texts, (new) music theatre, working with
different content fields and what we call the humanities. (that is why we are so interested to
contribute to your project)
After successful performances around the Netherlands
we are excited to translate KIBUYE in German and play it in a very content rich
environment, like your project promises to be. The play takes 45 minutes, will
be translated for the project in German and can play in a non theatrical area.
Since it has no scenery.
Het Geluid also had much success with our rendition of
Arnold Schoenberg’s ERWARTUNG at the EUREGIONAL OPERA EN MUSIC THEATRE FESTIVAL
2008. Upcoming month our new production L’Intrus opens at the Theater aan het
vrijthof in Maastricht.
We are very interested in other contexts than the
average theatre setting to present our work in because we hope it brings our
work back to what it was in ancient Greece. A place for moral reflection!
Hope to informed you enough
My regards
Gable
Roelofsen
Collective
member Het GeluidIMaastricht




































Arbeiter verlassen die Fabrik [Workers leaving the Factory] (1995)
Workers Leaving the Factory - such was the title of the first cinema film ever shown in public. For 45 seconds, this stillexistant sequence depicts workers at the photographic products factory in Lyon owned by the brothers Louis and Auguste Lumière hurrying, closely packed, out of the shadows of the factory gates and into the afternoon sun. Only here, in departing, are the workers visible as a social group. But where are they going? To a meeting? To the barricades? Or simply home? These questions have preoccupied generations of documentary filmmakers. For the space before the factory gates has always been the scene of social conflicts. And furthermore, this sequence has become an icon of the narrative medium in the history of the cinema. In his documentary essay of the same title, Harun Farocki explores this scene right through the history of film. The result of this effort is a fascinating cinematographic analysis in the medium of cinematography itself, ranging in scope from Chaplin's Modern Times to Fritz Lang's Metropolis to Pier Paolo Pasolini's Accattone!. Farocki's film shows that the Lumière brothers' sequence already carries within itself the germ of a foreseeable social development: the eventual disappearance of this form of industrial labor. (Klaus Gronenborn, Hildesheimer Allgemeine Zeitung, November 21, 1995) The first film ever projected is listed under the title The Workers Leaving the Factory. Chaplin played a worker, and Marilyn Monroe once exited the gate of a fish factory... but the workers' film has not become a main genre in film history. The space in front of the gate is far from being a preferred cinematic location. Most films begin when the work is over. I have collected images from several countries and many decades expressing the idea "exiting the factory", both staged and documentary - as if the the time has come to collect film-sequences, in the way words are brought together in a dictionary.
This UbuWeb resource is presented in partnership with Art Torrents

Dear Camille:
Do you think Courtney Love has surpassed Madonna as an icon of tough, sexy, smart womanhood?
Curious in New York
Dear Curious,
Courtney Love is clearly in transition, so it's too early to
predict how she may develop as an actress or musician. But at this
point it is preposterous to compare her achievements with those of
Madonna, who is a world figure of huge impact on the performing arts.
Courtney's core following is very limited by age, race and nationality,
while Madonna's ardent, multiracial fans range from children to mature
adults and number in the millions.
Courtney has already shown she is the better actress because of her ability to open herself emotionally to her character, as well as to her director and fellow actors. Paradoxically, this may be because she's less psychologically stable than Madonna, who is a mogul and control freak and too suspicious and guarded to really blend with an ensemble where she's not the boss.
The drug-free, perfectionist Madonna is much more profoundly visionary and steadily inner-directed than Courtney, who thus far has been primarily reactive, bouncing from place to place and thing to thing. I can't imagine Madonna -- or any genuine rebel -- saying what Courtney did after the Golden Globe awards about how much she was enjoying adults being "nice" to her.
Courtney's recent, drastic image makeover was long overdue. Not only did she hang on to that tatty "Kinder-whore" look for four years too long, but her reputation still needs emergency resuscitation in some circles. For example, about a year and a half ago, a famous, hip comedian said disgustedly to me, after she saw a dirty, disheveled, staggering Courtney "dragging" her tiny child through a packed, raucous party in the middle of the night, "Kurt Cobain killed himself to get away from her."
It must also be said that Courtney, as much as Hillary Clinton, owed her initial prominence to her association with a famous man. This cannot be said of Madonna, who learned her technical skills from a series of shadowy producers but who rocketed herself to superstardom.
Finally, Madonna's massive contributions to music leave Courtney's in the dust. Courtney's group, Hole, is a good but not great band that has yet to add a single important song to the central repertoire of popular music. Madonna, in contrast, is a major original composer and arranger whose blazingly beautiful, intricately layered songs have dominated the air waves and permeated the imagination for 13 years. When will the Grammy Awards judges, those gross hypocrites, get around to honoring her?
Please note that I
continue to defend Madonna despite the fact that she has been nothing
but bitchy, bitchy, bitchy about me! I am, you see, the second
Italian-American lesbian named Camille whom the gods have devilishly
sent to help and harass her -- the first being the pivotal, early
manager whom Madonna ditched on her way up.
March 4, 1997


Charles Mee: There is a vital relation between art en the
way societies are structured. As societies develop, it is the artists who
articulate the necessary myths that embody our experience of life and provide
parameters for ethics and values. Every so often the inherited myths lose their
value because they become too small and confined to contain the complexities of
the ever- transforming and expanding societies. In that moment new myths,
structures, relations, ways of embodying are needed to encompass who we are
becoming
I am an Artist, I am a researcher, I am a paraSITE| How
can we stimulate and simulate this community?
I have a background as a theatre artist.
An audience is a community for the duration of the
event.
It always amazes me that within the group of onlookers
everybody’s lonely individual inner experience seems emphasized.
Theatre is to me a mental space. The area where I
learned that we can construct reality. We can influence experience. We can take
of the façade of daily reality.
Having an interdisciplinary theatre collective in
Maastricht my constant question is:
How can I make work that keeps it‘s autonomy,
complexity, research quality but still find a connection with the direct community the work was made in?
I want to investigate the relation to and influence
the community I work in. But I don’t want to make Community work in the
seventies sense. No moral superiority. But an arena to share ambivalence and
complex disturbing realities. The success of a work, to me depends, on the way
we artists find new shapes for our shared ambiguities and uncertainties.
Embodying the other and telling constructed stories is
about the relationship to the self.
In the mental
space called theatre we can become aware of how much the borders, markings and scars
we perceive are caused by our own thinking, by our own ongoing interpretation.
A good actor is
like a vessel. A person who embodies collective knowledge and uses his or her
hyper individual expression/body/speech to reach for the universal. A good actor
knows it is important to keep his self images flexible not fixed. On stage a good performer remembers us by his
or her unmediated presence that human beings are both extremely vulnerable and
extremely powerful.
It calls on us to define our identity on different
terms. Than we normally do.
It is disturbing for most audiences in performances (that
are not like most commercially driving theatre works that seem to want to kill
time and the autonomous thinking.) to be confronted with the kind of theatre that
makes you aware of time, ambivalence, that remembers us of our vulnerability
and power, to keep our identity fluid. This
is to me is the basic ancient consciousness that theatre has to offer any
community. We become aware of the
relation to ourselves and the other. That is our mutual job, to see that we
keep the structures in our heads, minds, words and our communities fluid.
I am part of a theatre collective called HET GELUID, based
in AINSI in Maastricht. We are not just a producing company but we do very
active research.
One of our current multiyear projects is a project
called FREMDKOERPER, a series of more than ten performances around the strangeness
in ourselves and the relation to the other.
After performances that basically were only reflecting
on communities, lately we stumbled on variations of using the community we work
in. Our two latest performances took place in site specific situations in
Maastricht University and in a court room.
In the opera Erwartung, made in a courtroom, actual clerks and judges participated in the
performances. It goes beyond the question of using so called amateurs or
non-professionals. It is more a matter of the “knowing and the not knowing
body”. The trained theatre professional gained knowledge but lost a certain
amount of not- knowing. The amateur may not have the skills but that person may
be a judge for years and knows the “performative setting” he is functioning in
very well. Working site specific meant
that we got to learn new people with different preconceptions than ours and
that those people would reconsider their view on THEIR workplace. Our theatre
was always changed by what the specific place and its people brought to us.
Maastricht is a
laboratory. A mixed up, confused collective identity. Bourgeois? Middleclass? Rich? Dutch?
Provincial? Euregional? European?
Too much import? Too protective? Xenophobic? that in my opinion needs theatrical
intervention/intrusion. A common notion
in theatre is that it is political to give voice to the unheard. My research plan
is to make visible by theatrical and performative interventions in this city, the
unheard city.
The city is institutionalized. All the big art budget
is mostly spent on organization. The future ambition and identity of the city
follows a discourse of ARTS AND LEISURE. Art should keep and attract money,
companies, people, tourists and jobs to the city. Many rapports speak of a
casino, a new musicalshow theatre, Cultural capital of Europe in 2018 and
“protecting” the TEFAF arts fair of “Parasites”. This discourse has some violent sides to it.
It ultimately is together with the idea to bring the softdrugs to the borders
of the city area part of a discourse of exclusion.
Charles Mee speaks about artists creating new
mythology. I speak about the notion of giving voice to the unheard. We talk
about a discourse of inclusion. We are living in a power struggle with the
discourse of cleanness, tidiness and exclusion because it’s discourse violates
identities, possibilities, ethics, morality, communities. It doesn’t know how
to deal with ambivalence. I see this tension everywhere in the world. How do we
deal with the disturbing? Do we kill it or do we acknowledge that the
disturbing is a part of us.
I am a
researcher and Maastricht is my lab.
My lab will be a moving paraSITE.
A moving theatre that will see, hear, give voice….
That will intrude and invade!
Het Geluid I Maastricht
After
performances on ‘The strangeness’ of mass graves and an opera in a courtroom in
Fremdkörper 0# and 1#. Maastricht’s one and only interdisciplinary theatre
collective sets out on a new journey into ‘the strange’ inside us human beings. 
L'Intrus I Fremdkörper 2#
Inspired by
philosopher Jean Luc Nancy’s essay about the heart transplant he underwent
after heart failure.
The tale of
someone confronted by the stranger that intrudes his body. Someone who is taken
by the fear of losing his identity.
Nancy transforms this very
personal experience into an universal story. How do we deal with the stranger
in our lives?
Het
Geluid takes on this subject and goes to
heart of the matter. What do we know
about the most familiar and at the same time most alien to us, our own
heart? In our search we’ll bump into
heart surgeons, heart patients, donor
coordinators, refugees, xenophobia and a bunch of Roma gypsies.
We are glad
to announce that our performances will be ‘intruded’ by Antwerp‘s one and only Balkan Brass band the
AMBRASSBAND. You are invited for some food for thought, some lovely narrow
mindedness and who knows what more will intrude your heart on the melancholic
sounds of the Balkan brass band.
Freely
based on Jean Luc Nancy’s L’Intrus
Director: Gable Roelofsen
Actors: Romy Roelofsen,
Sofie van Moll and Ad van Gool
Music: Ambrassband Antwerp
Maastricht Toneelstad Festival 2008
Wednesday 14th of May(opening night)/
Thursday 15th of May/ Friday 16th of May (with party at Take Five)
21:00 Theater aan het
Vrijthof , Reservations UITbalie
043-350 55 55 entrance 10 euro
Extra: Het Geluid I Take
Five
DAS FREMDKŐRPERFEST
.
A PARTY
16TH
OF MAY, TAKE FIVE.
MELANCHOLY,STRANGENESS,A
BIT OF THEATRE, SOME ARGENTINIAN SOUNDS AND A WHOLE LOT OF BALKAN BRASS BAND.
(AMBRASSBAND, ANTWERP)
android
Instruction:
Reduce your spine to six parts, three in
your neck, three in the lower back
rechange all joints into ball joints
start your arms with your shoulders
throw away your shoulderblates
your hips are one piece
your ribcage is not moveable
your feet are two pieces
keep your face expression friendly and
open
don´t produce additional movements
Your heart muscle is a very
efficient pump that delivers blood, oxygen and nutrients to your body.
The heart has four chambers -
two on the right and two on the left. Both sides of the heart work together.
The right side pumps blood into the lungs and the left side pumps blood into
the organs and tissues of your body.
After your blood flows through
the body, its life-giving oxygen and nutrients have been depleted. To replenish
the oxygen and revitalize the blood, it must pass through the heart and then
into the lungs again.
Right side: First the
oxygen-depleted blood enters the heart through two large veins, the inferior
and superior vena cava and then flows into the right atrium. From the right
atrium, it passes through the tricuspid valve and then into the right
ventrical. The blood is then pumped through the pulmonary valve and into the
lungs.
Once in the lungs, carbon
dioxide is removed and oxygen is added to the blood.
Left side: The pulmonary vein
empties oxygen-rich blood, from the lungs, into the left atrium. From here, the
blood flows from your into your left ventricle through the open mitral valve
and finally, it is pumped through the aortic valve into the aorta - the blood
vessel that feeds all of the other parts of your body.
When the ventricles are full,
the mitral and tricuspid valves close. This prevents blood from flowing
backward into the atria while the ventricles contract (squeeze) or
"pump." This pattern is repeated continuously throughout your life,
causing blood to flow continuously to the heart, lungs and other parts of the
body.
The heart requires oxygen to
function properly. But the blood that is pumping through the heart does not
supply oxygen to the heart muscle itself. Special blood vessels attached to the
outside of the heart, called coronary arteries, supply the heart with oxygen
and nutrients needs. Three major arteries and a number of smaller vessels are
designed to perform this function
Cyclosporin (CSA, Neoral, Sandimmune,
SangCya)
Prednisone (Medrol)
Tacrolimus (FK 506, Prograf)
Cell-Cept (MMF, mycophenolate mofetil)
Azathioprine (AZA,
Imuran)
Rapamune (rapamycin,
sirolimus) - FDA approved 8/25/2000 for kidney transplant
Cyclophosphamide - an
anti-cancer drug ocassionally used as an immunosuppressant
Monoclonal and Polyclonal Antibodies
- used as "rescue" drugs for acute rejection episodes - IV only
Muromonab-CD3
(Orthoclone, OKT3): monoclonal antibody derived from
mice. Drug insert in PDF form here
ALG (antilymphocyte globulin)
ATG (Atgam): antithymocyte globulin from horses
immunized with human thymocytes - very potent and also used as induction therapy. Drug insert in PDF form here
Thymoglobulin:
antithymocyte from rabbits - very potent
Daclizumab
(Zenapax): modified human IgG1 monoclonal antibody - 90% human
and 10% mouse/rat gene sequences
Basiliximab
(Simulect): chimeric monoclonal antibody obtained from mouse
myeloma cells
Experimental drugs
FTY720 by Novartis
ISA(TX)247 by
Roche/Isotechnika
Everolimus (SDZ
RAD, Certican) by Novartis: similar to Rapamune
BTI-322 (MEDI-507)
by BioTransplant Inc/MedImmune: Anti-CD2 monoclonal antibody
derived from mice
Anti-CD154 antibodies
-----------------------------------------------------------------------------------------------------------------
Using the match of potential recipients, the local
organ procurement coordinator or an organ placement specialist contacts the
transplant center of the highest ranked patient, based on policy criteria, and
offers the organ. If the organ is turned down, the next potential recipient's
transplant center on the match list is contacted. Calls are made to multiple
recipients' transplant centers in succession to expedite the organ placement
process until the organ is placed. Once the organ is accepted for a patient,
transportation arrangements are made and the transplant surgery is scheduled
-----------------------------------------------------------------------------------------------------------------
The idea of
replacing a bad organ with a good one has been documented in ancient mythology.
The first real organ transplants were probably skin grafts that may have been
done in India as early as the second century B.C. The first heart transplant in
any animal is credited to Vladimer Demikhov. Working in Moscow in 1946,
Demikhov switched the hearts between two dogs.
----------------------------------------------------------------------------
In
accordance to the project l'intrus and the idea of the stranger, I had to think
about Julia Kristeva Étrangers à nous-mêmes/ De vreemdeling in
onszelf. Also the French philosopher Lyotard wrote a lot about 'het
vreemde' in his la condition postmodern.
By
googling the web I found a doc about personal and groupsidentity witch could be
interesting for the persona project as well. I liked the first pages and also the
table on page 13 witch gives the reasons from young boys and girls way they want
or don’t want to change sex. (Unfortunately all in Dutch)
“When
they asked me: ”How do you do?” I like to answer: “on witch floor you mean…? It’s like
I’m a group of people, how are living on several floors and crossing each other
ones in a while.”








Mistake in contrat law page re-edited from wikipedia
In contract law mistake is an erroneous belief, at contracting, that certain facts are true. It may be used as grounds to invalidate the agreement. Common law has identified three different types of mistake in contract: unilateral mistake, mutual mistake, and common mistake.
A mutual mistake occurs when the parties to a contract are both mistaken but about different things. They are at cross-purposes. As such, there is no consensus ad idem, and this overlaps with the objective theory of contract, and there is no offer and acceptance.Hence the contract is void.
Raffles v. Wichelhaus 2 H. & C. 906 (Ex. 1864) Plaintiff Raffles agreed
to sell 125 bales of Indian cotton at 17 pence per pound to Defendant
Wichelhaus with payment to be made within a specified time after the arrival of
the cotton in
The buyer agreed to purchase cotton from the seller. The parties agreed the
cotton would be shipped on the ship “Peerless.” Unknown to the parties, there
were two ships Peerless. Buyer knew of October Peerless and expected the cotton
to be shipped on October Peerless. But Seller knew of December Peerless and
shipped the cotton on December Peerless. Buyer refused to accept the shipment
when it arrived later than Buyer expected, and Seller sued. The court held
there was no contract since “there was no consensus ad idem.” (No agreement as
to the matter.)
Mutual mistakes are rare, but they do occur. If there is a true mutual mistake, there is no contract, even though it may be said there was a meeting of the minds.

