Thanks to MachineGunBang/Juicy Carolina and LadyPillow for letting me use their photos.
This is a still from an animation I am working on :-)
Simon/C
31 Dec 2006
30 Dec 2006
27 Dec 2006
Marjorie's World Unhinged
Recently I caught a production of Maresa Von Stockert's dance theatre piece Marjorie's World Unhinged. This was a fascinating and very artistic exploration of the suffering of dancers (mainly ballerinas) during lengthy training. It acted as an expose on the values of youth, "beauty" and the current obsession with being thin.
"Marjories World" also utilised video in dramatic and varying ways. During the "after show talk" Maresa Von Stockert made it clear that the aim of the piece was to question the notion that one has to quit professional dancing by the age of 30! She used dancers who were over 30 (2 of them were well over 30!) as well as younger dancers. The acrobatics of the older dancers left no doubt in my mind that top level dance is possible at virtually any age.
Joy Constantinides was phenomenal, playing an aging ballerina, falling to the floor and hanging upside down from a table! Max Reed was also amazing as the protagonist's husband. He revealed a sad, obsessive existence, punished by bosses for being, well, over 30! He also danced with vigor and creativity.
Laura Cadlow, Natalia Thorn and Matthew Morris were the younger dancers (Morris a little older than 30!). They all impressed, utilising Von Stockerts cerebral and humorous choreography, with incredible feats of strength (Cadlow dancing under and over a bar) beautiful imagery (Thorn dancing with 4 balloons tied to her limbs) and Morris dancing in a variety of ways, at one point dancing while putting on a dress!
Maresa Von Stockerts choreography is at times "psychoanalytic" and undoubtedly experimental. However, if you go to see one of her performances don't expect a dull, impenetrable exercise in how to baffle and piss-off an audience. Her choreography delights by being bold and aggressive. Von Stockert has an eccentric sense of humor, that never dwindles, even during the weightiest or saddest moments. Her experiments with video are notable, particularly the sequence involving Cadlow holding a mini video camera with her toes and slowly dancing with it. Her image, shifting and changing with the position of her foot, was projected onto the main screen, while unpretentious commentary examined her fears of aging, being fat and not being beautiful enough.
It is unsuprising that Maresa Von Stockert is causing a stir, with her brand of choreography, that is entertaining, intelligent, experimental and humorous. Her themes not only deal with abstract ideas, but embrace problems that affect us all, leaving the theatre goer with plenty to ponder after the show. And you won't leave without a few laughs!
"Marjories World" also utilised video in dramatic and varying ways. During the "after show talk" Maresa Von Stockert made it clear that the aim of the piece was to question the notion that one has to quit professional dancing by the age of 30! She used dancers who were over 30 (2 of them were well over 30!) as well as younger dancers. The acrobatics of the older dancers left no doubt in my mind that top level dance is possible at virtually any age.
Joy Constantinides was phenomenal, playing an aging ballerina, falling to the floor and hanging upside down from a table! Max Reed was also amazing as the protagonist's husband. He revealed a sad, obsessive existence, punished by bosses for being, well, over 30! He also danced with vigor and creativity.
Laura Cadlow, Natalia Thorn and Matthew Morris were the younger dancers (Morris a little older than 30!). They all impressed, utilising Von Stockerts cerebral and humorous choreography, with incredible feats of strength (Cadlow dancing under and over a bar) beautiful imagery (Thorn dancing with 4 balloons tied to her limbs) and Morris dancing in a variety of ways, at one point dancing while putting on a dress!
Maresa Von Stockerts choreography is at times "psychoanalytic" and undoubtedly experimental. However, if you go to see one of her performances don't expect a dull, impenetrable exercise in how to baffle and piss-off an audience. Her choreography delights by being bold and aggressive. Von Stockert has an eccentric sense of humor, that never dwindles, even during the weightiest or saddest moments. Her experiments with video are notable, particularly the sequence involving Cadlow holding a mini video camera with her toes and slowly dancing with it. Her image, shifting and changing with the position of her foot, was projected onto the main screen, while unpretentious commentary examined her fears of aging, being fat and not being beautiful enough.
It is unsuprising that Maresa Von Stockert is causing a stir, with her brand of choreography, that is entertaining, intelligent, experimental and humorous. Her themes not only deal with abstract ideas, but embrace problems that affect us all, leaving the theatre goer with plenty to ponder after the show. And you won't leave without a few laughs!
The Internet and the Theatre (time,assemblage,perception) - brief notes
L'arene chance!
Strangly, as time shifts or, one could argue, expectedly, if one were inclined to do so, time although mottled and hued, acts as an indicator of assemblage (via perception) rather than the assemblage its self or its causation.
Time causes assemblage to splinter and crack, to redefine its splicing, to follow the creative timbre of perception.
Time, as we know, is non-existent, however it is a notion that corresponds to animate, human consciousness. Therefore we can take it that time is existent, atleast to human experience and this misapprehension is necessary, in one shape or form, for human understanding/life.
So, leaving time aside, perhaps seeing it as "flow" like a subatomic particle that passes through things, through people, we are left with assemblage, perception, the Internet and the Theatre.
The playfulness of the Internet experience, that questionable "I"; a place, surely not mon amis (!) leads my thought to shift from one intent, my intended intention to a happenstance intention, one brought about via the virtual world.
It is odd how assemblage, in this sense meaning corresponding ideas and things that assemble in some such way, and then with the passing of time/flow, reassemble in some other way..... It is odd how the stuff of this assemblage, by this I mean the instinct towards creativity, or ideas and their practical execution (things or movement) (tangible expression), alters its definition and outward form, yet the intrinsic stuff (creativity) that is expressed alters very little.
I make no apology for my use of dance-terms, such as "flow", "form", "shift", etc. to express my comprehension of time, assemblage, perception, the Internet and the Theatre. Dance is a very human form of expression, at once apprehensible and deeply evocative. In her book "To Dance is Human" Judith Hanna writes "When dance is suppressed for moral, religious or political reasons, it rises pheonixlike to assert the essence of humanity." Its current popularity would naturally flow then!
By this I refer to the increasing urbanisation of British culture, the increasing change and ever-increasing technologization of Western life and the political and economic malaise and stagnancy of Western life. There are of course, a plethora of other reasons why dance is the current "obsession".
As these notes grow in shape, content and form, ideas, freestyle, occur and the playfulness of Internet writing reminds me of the playfulness of dance, its bodily necessity and bodily enquiry.
The Internet, a fickle and dramatic computer "world", once again, emphasizes the human need to perceive something as humanly explicable, metaphorical, communicable and malleable.
The Internet, of course, is nothing more than electronic connections, shared computer space, a function of human creativity. Yet, being human, to us it is a "virtual world", something intriguing, full of intellectual and practical possibilities.
Of course, the Internet is a theatre.
(Notes not yet complete)
Strangly, as time shifts or, one could argue, expectedly, if one were inclined to do so, time although mottled and hued, acts as an indicator of assemblage (via perception) rather than the assemblage its self or its causation.
Time causes assemblage to splinter and crack, to redefine its splicing, to follow the creative timbre of perception.
Time, as we know, is non-existent, however it is a notion that corresponds to animate, human consciousness. Therefore we can take it that time is existent, atleast to human experience and this misapprehension is necessary, in one shape or form, for human understanding/life.
So, leaving time aside, perhaps seeing it as "flow" like a subatomic particle that passes through things, through people, we are left with assemblage, perception, the Internet and the Theatre.
The playfulness of the Internet experience, that questionable "I"; a place, surely not mon amis (!) leads my thought to shift from one intent, my intended intention to a happenstance intention, one brought about via the virtual world.
It is odd how assemblage, in this sense meaning corresponding ideas and things that assemble in some such way, and then with the passing of time/flow, reassemble in some other way..... It is odd how the stuff of this assemblage, by this I mean the instinct towards creativity, or ideas and their practical execution (things or movement) (tangible expression), alters its definition and outward form, yet the intrinsic stuff (creativity) that is expressed alters very little.
I make no apology for my use of dance-terms, such as "flow", "form", "shift", etc. to express my comprehension of time, assemblage, perception, the Internet and the Theatre. Dance is a very human form of expression, at once apprehensible and deeply evocative. In her book "To Dance is Human" Judith Hanna writes "When dance is suppressed for moral, religious or political reasons, it rises pheonixlike to assert the essence of humanity." Its current popularity would naturally flow then!
By this I refer to the increasing urbanisation of British culture, the increasing change and ever-increasing technologization of Western life and the political and economic malaise and stagnancy of Western life. There are of course, a plethora of other reasons why dance is the current "obsession".
As these notes grow in shape, content and form, ideas, freestyle, occur and the playfulness of Internet writing reminds me of the playfulness of dance, its bodily necessity and bodily enquiry.
The Internet, a fickle and dramatic computer "world", once again, emphasizes the human need to perceive something as humanly explicable, metaphorical, communicable and malleable.
The Internet, of course, is nothing more than electronic connections, shared computer space, a function of human creativity. Yet, being human, to us it is a "virtual world", something intriguing, full of intellectual and practical possibilities.
Of course, the Internet is a theatre.
(Notes not yet complete)
23 Dec 2006
16 Dec 2006
from THE DAYLIGHT SECTIONS (53)
legato ribbon brings
jumprope to dark rivers
made the tone of light
for now all simple moments
strung together form
a life
vivacity comes true
because at night
I hear your breath
I offer my own breathing
in response I sing
dream back to you
all starlight you wear
something soft as
your perfumed skin
and I love even
the thought of morning
you against the daytime blue
jumprope to dark rivers
made the tone of light
for now all simple moments
strung together form
a life
vivacity comes true
because at night
I hear your breath
I offer my own breathing
in response I sing
dream back to you
all starlight you wear
something soft as
your perfumed skin
and I love even
the thought of morning
you against the daytime blue
15 Dec 2006
from THE DAYLIGHT SECTIONS (52)
posture, my derivative young friend, displays your soul
when you are working, I'm not working to perform you
dried fish, an apple, even harsh tea sets your mind to principles
that form indelible impressions on one resistent audience
whenever furniture is given away,
there is a greater probability of echoing within the room
I call myself a prisoner of discipline
listen to me prompt you to divulge the secret of yourself:
paint makes for adequate disguise
continuance is what is asked and soon after, denied
narration's brimming over with a hunger for description
of what may not be solved, merely admired
when you are working, I'm not working to perform you
dried fish, an apple, even harsh tea sets your mind to principles
that form indelible impressions on one resistent audience
whenever furniture is given away,
there is a greater probability of echoing within the room
I call myself a prisoner of discipline
listen to me prompt you to divulge the secret of yourself:
paint makes for adequate disguise
continuance is what is asked and soon after, denied
narration's brimming over with a hunger for description
of what may not be solved, merely admired
14 Dec 2006
from THE DAYLIGHT SECTIONS (51)
white with sweetness wall
warm wall
wafer thin derm face, the wall
weaving threads of mind to equal wall
wheat designs traced on the wall
waffle pattern thought to match the wall
sand
light
small
tone
in a happy way informal certainty endows with texture all the seen and heard perfumed things that comprise a finite universe that comes to seem a permanent . . .
warm wall
wafer thin derm face, the wall
weaving threads of mind to equal wall
wheat designs traced on the wall
waffle pattern thought to match the wall
sand
light
small
tone
in a happy way informal certainty endows with texture all the seen and heard perfumed things that comprise a finite universe that comes to seem a permanent . . .
12 Dec 2006
crescent/hight (from Babels' Dada Wiki)
-->
0101010101010101010101010101010101010101010101010101010101010101010101
010101010101)()()()()()()()()()()()()())()()()()()()()()()()()())()()(
)()()()()()()()()()()()()()()()()()()()()()()()()()()()()()()encoded__
____----____---____-----_____----______------_____-----______----_____
-----_____------_____en(circle)'''';'';';'';'';'';'';'';'';'';
'';''; '';';;;;;;'''''';;;;;;'''''';;;;;;''''';';';';';';';';';';
';';';';'; ';';';';';';I have absolute to a yes\\ point out that no interest in prosthetics will ever\\ squire root my song. Nor any ott7 acupuncture and\\ I denounce dadas prosthetics as sublime interference\\ will oooo han etc I koko myself clear\\ rit.';';';';';';';';';';';';';';';
'pattern
emergence/////////////////////////////////////////////////////////////
/////////////////////////////////////////////////encoded><>>><>><>><>>
<><><><><><><><><><><><><><><>><>><>><>><>><>><><><><><><>>>>>>>>>><<<>>>>>>>>><<<<<<<<><><><><><><><><><><><><><><><><><><><><><><><>< ><><>stutter............encasement is a letterform punctuated
pale""""""""""""""""""""""""""""""""":::::::::::::::::::::::::::::::::
::::::::::::::::::::::::""""""""""""]
0101010101010101010101010101010101010101010101010101010101010101010101
010101010101)()()()()()()()()()()()()())()()()()()()()()()()()())()()(
)()()()()()()()()()()()()()()()()()()()()()()()()()()()()()()encoded__
____----____---____-----_____----______------_____-----______----_____
-----_____------_____en(circle)'''';'';';'';'';'';'';'';'';'';
'';''; '';';;;;;;'''''';;;;;;'''''';;;;;;''''';';';';';';';';';';
';';';';'; ';';';';';';I have absolute to a yes\\ point out that no interest in prosthetics will ever\\ squire root my song. Nor any ott7 acupuncture and\\ I denounce dadas prosthetics as sublime interference\\ will oooo han etc I koko myself clear\\ rit.';';';';';';';';';';';';';';';
'pattern
emergence/////////////////////////////////////////////////////////////
/////////////////////////////////////////////////encoded><>>><>><>><>>
<><><><><><><><><><><><><><><>><>><>><>><>><>><><><><><><>>>>>>>>>><<<>>>>>>>>><<<<<<<<><><><><><><><><><><><><><><><><><><><><><><><>< ><><>
pale""""""""""""""""""""""""""""""""":::::::::::::::::::::::::::::::::
::::::::::::::::::::::::""""""""""""]
au revoir a praeside
frenesia floe fj arbour
canon huten flue fluere [make a]
joke joe daphne flod
bye ye ole dada
ald un waes b b b hobby [touch]
rob hippos ballo fluiten
toc cock menage a
fkuc empiricium [entre nous]
hwisp la lingua!
canon huten flue fluere [make a]
joke joe daphne flod
bye ye ole dada
ald un waes b b b hobby [touch]
rob hippos ballo fluiten
toc cock menage a
fkuc empiricium [entre nous]
hwisp la lingua!
8 Dec 2006
7 Dec 2006
from THE DAYLIGHT SECTIONS (50)
maybe repeat the rose
for luck. perhaps
invent another thing
toward relaxing.
another flavor is the sure
intention that shapes
symmetry. whose idea
was it to align?
one morning light
was cold enough
to shift direction
of the small ingredients,
seeking purpose interposed
with shelter. when desire
about a roost begins
to overcome some genius,
ripening becomes inevitable.
which of these ameliorative
flickers will you watch?
a segue would be nice.
even a cloth to cover
pre-dawn plants
arriving at the point
of chill.
for luck. perhaps
invent another thing
toward relaxing.
another flavor is the sure
intention that shapes
symmetry. whose idea
was it to align?
one morning light
was cold enough
to shift direction
of the small ingredients,
seeking purpose interposed
with shelter. when desire
about a roost begins
to overcome some genius,
ripening becomes inevitable.
which of these ameliorative
flickers will you watch?
a segue would be nice.
even a cloth to cover
pre-dawn plants
arriving at the point
of chill.
the first thought
i know nothing of blogs ooh1
nothing atoll^. to stay r
u image nation greek for societal notion rimes (claire) with o(m)tion
formal charplusekka [shift phrase]is tics ist say potatoe
nuffink etc choose areal thought. spurred of toes I know,
nothing of words
nyte for experience they alter par the night
often chasing my trail
to the danceHouse drive Kerplunk
!working irrationally. Aboreal
hoopla revie levi
parsimoni celery mty spaeech
(suggest) is the workers digest attika
collog arrette pert nursing times Anelia rhymes
I got sick wif of Dali asm
Always .org man with a womb painting corpses/copses
must notate questional attributes collaquafe of surrealism
its thorough growth to dada
full fledging rotational
painting. poetry is a
fall from speech a delicate
tree in'st a tute you r
a abre
you dont change your like a tree
tree tree from jism
Greek to stand with arms splayed
your pages are fondu hieroglyphics
Kadra2 the everfestive seevase
rhinoceros boulange
you m'est suis? 8 ^ 33
i could have fucked
i know nothing of blogs ooh1
nothing atoll^. to stay r
u image nation greek for societal notion rimes (claire) with o(m)tion
formal charplusekka [shift phrase]is tics ist say potatoe
nuffink etc choose areal thought. spurred of toes I know,
nothing of words
nyte for experience they alter par the night
often chasing my trail
to the danceHouse drive Kerplunk
!working irrationally. Aboreal
hoopla revie levi
parsimoni celery mty spaeech
(suggest) is the workers digest attika
collog arrette pert nursing times Anelia rhymes
I got sick wif of Dali asm
Always .org man with a womb painting corpses/copses
must notate questional attributes collaquafe of surrealism
its thorough growth to dada
full fledging rotational
painting. poetry is a
fall from speech a delicate
tree in'st a tute you r
a abre
you dont change your like a tree
tree tree from jism
Greek to stand with arms splayed
your pages are fondu hieroglyphics
Kadra2 the everfestive seevase
rhinoceros boulange
you m'est suis? 8 ^ 33
i could have fucked
Subscribe to:
Posts (Atom)