terça-feira, janeiro 29, 2013

B.

You say to the boy open your eyes
When he opens his eyes and sees the light
You make him cry out. Saying
O Blue come forth
O Blue arise
O Blue ascend
O Blue come in

(...)

'Blue' by Derek Jarman

segunda-feira, janeiro 28, 2013

contemporary choreographic stills

still from slitcanning Yvonne Rainer's "Hand Movie" (1966)

check the project and app by Eduardo Morais here

sexta-feira, janeiro 25, 2013

glitches

If virtual bodies happen through mediation by the use of technological interfaces that’s only the reproduction of how virtual we are since we are in fact a replica of pre-existent shapes,measures, chemistry, and all sorts of components that come together in the most organized randomness process that ever existed, bringing us to the conclusion that if we are in fact a sum of errors and metamorphosis we are a glitch of what a REAL body is supposed to be.

dp2013

quarta-feira, janeiro 23, 2013

Bas Jan Ader Guidelines for a Retrospective

- Melancholy and Romanticism

- How to disappear completely

- Mondrian's legacy

- Language and theatre

- I'm too sad to tell you

- Falling


more here: http://tinyurl.com/bbfgxwm

terça-feira, janeiro 22, 2013

travel 4 seasons at the same time and speed!



Nordlandsbanen / Season by Season

a new constellation...

"One Today"

One sun rose on us today, kindled over our shores,
peeking over the Smokies, greeting the faces
of the Great Lakes, spreading a simple truth
across the Great Plains, then charging across the Rockies.
One light, waking up rooftops, under each one, a story
told by our silent gestures moving behind windows.

My face, your face, millions of faces in morning's mirrors,
each one yawning to life, crescendoing into our day:
pencil-yellow school buses, the rhythm of traffic lights,
fruit stands: apples, limes, and oranges arrayed like rainbows
begging our praise. Silver trucks heavy with oil or paper—
bricks or milk, teeming over highways alongside us,
on our way to clean tables, read ledgers, or save lives—
to teach geometry, or ring-up groceries as my mother did
for twenty years, so I could write this poem.

All of us as vital as the one light we move through,
the same light on blackboards with lessons for the day:
equations to solve, history to question, or atoms imagined,
the "I have a dream" we keep dreaming,
or the impossible vocabulary of sorrow that won't explain
the empty desks of twenty children marked absent
today, and forever. Many prayers, but one light
breathing color into stained glass windows,
life into the faces of bronze statues, warmth
onto the steps of our museums and park benches
as mothers watch children slide into the day.

One ground. Our ground, rooting us to every stalk
of corn, every head of wheat sown by sweat
and hands, hands gleaning coal or planting windmills
in deserts and hilltops that keep us warm, hands
digging trenches, routing pipes and cables, hands
as worn as my father's cutting sugarcane
so my brother and I could have books and shoes.

The dust of farms and deserts, cities and plains
mingled by one wind—our breath. Breathe. Hear it
through the day's gorgeous din of honking cabs,
buses launching down avenues, the symphony
of footsteps, guitars, and screeching subways,
the unexpected song bird on your clothes line.

Hear: squeaky playground swings, trains whistling,
or whispers across café tables, Hear: the doors we open
for each other all day, saying: hello, shalom,
buon giorno, howdy, namaste, or buenos días
in the language my mother taught me—in every language
spoken into one wind carrying our lives
without prejudice, as these words break from my lips.

One sky: since the Appalachians and Sierras claimed
their majesty, and the Mississippi and Colorado worked
their way to the sea. Thank the work of our hands:
weaving steel into bridges, finishing one more report
for the boss on time, stitching another wound
or uniform, the first brush stroke on a portrait,
or the last floor on the Freedom Tower
jutting into a sky that yields to our resilience.

One sky, toward which we sometimes lift our eyes
tired from work: some days guessing at the weather
of our lives, some days giving thanks for a love
that loves you back, sometimes praising a mother
who knew how to give, or forgiving a father
who couldn't give what you wanted.

We head home: through the gloss of rain or weight
of snow, or the plum blush of dusk, but always—home,
always under one sky, our sky. And always one moon
like a silent drum tapping on every rooftop
and every window, of one country—all of us—
facing the stars
hope—a new constellation
waiting for us to map it,
waiting for us to name it—together.

quinta-feira, janeiro 17, 2013

quarta-feira, janeiro 16, 2013

terça-feira, janeiro 15, 2013

de-touch-ment

Part of what's impressive about the Internet is that it's infinite, immaterial, and uncontainable—it's untouchable—but I still touch it many times a day.

-- Anthony Huberman (US/CH)
Anthony Huberman writes about evokes the sense of touching as a representation of the works selected to be part of Detouched exhibition patent at Project Arts Centre in Ireland. As a guest curator Huberman refers to the sense of touching related to works that were developed around one of the human senses and that is in fact very present in this digital era.

Do we have to touch in order to feel?

Feelings or how the human body reacts through stimulation resulting on emotions are important to the general idea of being alive, of being present. Today while taking part as an audience in a conference that aimed at discussing issues concerning the intersection between Art and Technology the moderator (Carlos Pimenta) brought up a PowerPoint presentation that quoted some interesting authors that have been thinking about the technology and its impact on the world.
The conference, named after 'Les écrans sur la scène' (translated to Portuguese as The Stage Full of Screens: between transparency and opacity) was centered in discussing the impact of technology on theater, not only going through the analysis of how much technology has transformed our lives - bringing the species to a whole new level of low-tech cyborgs -, but questioning the balance between what it used to be an established art form and that is fighting with an adaptation process that is taking longer than expected and the result is unknown. While many (again) state that Theater is long gone, others question how can this adaptation result without damaging the purpose of this ancient story telling form that has throughout the times suffered many changes and faced the adversities of other kinds of technology, going from orality to text based, from ritual to practice, from amateurism to professionalism not to mention the process of bringing engineering, light design, sound enhancement...

At some point of the discussion the topics were mainly two and were related to the way the audience experienced the artistic object through the use of any kind of mediation. And the impact the bringing technological input to the theatrical device.

The idea of detachment was very present in the conversation while thinking on the possibilities of broadcasting plays in contrast to an physical and emotional engagement that happens on having the experience as a community in a theater room with someone sitting next to you. That idea of detachment again came associated with the general idea that only the visual sense is activated in such action of watching something on a screen that all the other senses are somehow left aside.

In order to talk about the impact of technology on theater many bring the subject of video on stage and the problems of such visual impact that often overtakes the human action going on at the same time. Although to talk about video is not at all to talk about the impact of technology we can take it as an example and try to understand through its use what work needs to be done in order to find a balance between human and technology on stage. To measure on stage the presence of all kinds of media being used.

Going back to Marshall McLuhan statement "The Medium is the Message" can be a very simple way to understand that every medium used as a support and therefore becomes (as a canvas supporting a painting) part of the entire piece. The support itself along with the content becomes one object and allows - depending on what those supports are - the "message" to be experienced by the spectator as the artist previously designed. The support=medium=message is the device and should be thought as one thing since all of this is going to be received and perceived together. One part of a whole shouldn't be considered or thought to be a decorative element in the picture for the whole picture is to be defined as decorative if someone using it or watching it decides to do it.
The same notion that led to the deconstruction of 'canonical art', in very specific periods where the canons were considered to be out of date, and new tools and art practices were considered, introduced and confirmed was means of enhancement in order to achieve new results more adequate to the motivations and 'urgencies' of the time, is the same notion that introduced the radio, the television, the telephone as tools that were the support for the message and were in fact the message itself sometimes raising awareness to themselves and their social impact.

sábado, janeiro 12, 2013

A DAY IN THE OFFICE


>> watch another day in the office... here

QUEER VOICES EMERGING

theculturewhore:
image

The sheer amount of queer art and performance in New York can start to feel overbearing and tired (especially when it isn’t very good, as is unfortunately often the case), which is why it’s so special and empowering to see queer art that is not only present, interesting and well made, but also invigorating and inspirational.
The new generation of queer artists, who you may have seen at a party/reading/cabaret but more likely have never heard of, were brought together by established performer and writer Dan Fishback for SQUIRTS: New Voices in Queer Performance, a two week series bringing together emerging young queer performers and giving them their first taste of what it’s like to be in a “real” show at at a prominent New York theatre, La Mama’s Experimental Theatre Club. 
Read More

quinta-feira, janeiro 10, 2013

he falls for she that looks like a he... (or vice-versa)

who won?

"One of the central goals of preparing a second edition was to make the book more responsive to a highly volatile cultural scene. Liveness is a book about performance but it is also about media, and media do not stand still. I started the work that led to Liveness in the early 1990's; at that time, it seemed plausible to insist that television was the dominant medium. By now [2007], there is a strong case to be made that the honor belongs to the computer, though it seems more accurate to say that there is an ongoing, unresolved struggle for dominance among television, telecommunications, and the Internet. The principal players behind each of these would like nothing better than for it to be your primary source of news, entertainment, art, conversation, and other forms of engagement with the world. It remains to be seen how this struggle will play out."
(...)
-- in, "Preface to the Second Edition" of Philip Auslander's Liveness: Performance in a Mediatized Culture

segunda-feira, janeiro 07, 2013

examining life


ressonant ideas - Examined Life (2008) a Documentary by Astra Taylor.

sexta-feira, janeiro 04, 2013

NI UNA MÁS em português



"Ni Una Más" é uma peça de teatro, escrita por Mia Parissi e encenada por Nerina Cocchi, que aborda o tema do feminicidio sob o ponto de vista da personagem de Cesca interpretada por Giovanna Scardoni.
Uma viagem através de um monólogo sobre a viagem desta mulher que reflecte sobre as consequências de uma acção que não se sabe se irá ou não fazer. Ao longo do seu discurso percebemos o drama de uma segunda pessoa que foi vítima de feminicidio, violentada física e verbalmente, e que acaba morta causando danos irreparáveis na figura da mulher que nos conta esta história e que se vai desfazendo aos olhos do público num mar de cerâmica que lembra um amontoado de ossos como metáfora de um problema real e actual não só em Itália mas em muitas partes do mundo.

"Ni Una Más" surge como alegoria à batalha travada por muitos grupos que laboram em torno desta temática a fim de dar voz ao silêncio que muitas vezes é motivo de desconhecimento por parte de muitos e pelo qual ainda há muito trabalho a fazer, incluindo dar vida a projectos que nascem como espelho da problemática social inerente, independentemente do género ou forma que assumem.

Este é um projecto que para além de procurar parceiros institucionais que possam servir como plataforma de acolhimento para acender discussões necessárias é também um projecto que necessita da ajuda de todos os que possam estar interessados em fazer parte através de uma contribuição monetária que viabilize a sua apresentação a vários públicos internacionais.


Mais informações: http://inoutmas.wordpress.com/

quarta-feira, janeiro 02, 2013

resolution

: to find new resolutions and continue...

new year



although a lot of faces were missing, 2013 began like this! fun moments to be shared and remembered.

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