dear Kalien and cris
i keep meaning to respond to stuff and haven't found the momenergy
(that's the trouble with painting a series called TRAPS)
i remember taking a guy from Illinois to the ICA to see a Steve Paxton
performance
i mention this because some people think that watching dance, like
listening to poetry,
is some kind of alienated activity
well it needed be
the visiter became very uncomfortable during the performance and before
long left very quickly looked quite ill
participating in performance activity (call it audience if you dare) can
be a very physical experience
the visiter had experienced what anyone present had, Paxton's slow
apparently slight sensuous intelligence was causing a complex of
configurations in peristaltic and proprioception experiences generally
but the visiter had recently recovered from a cancer operation and part
of his windpipe was plastic
he was experiencing great difficulty breathing properly because of
Paxton's capacity to be intimate at a distance
because of his ability to bring about a reciprocity or rapore betwen
himself as dancer and the others in the experience space
_fragmente_ have just published some notes I made for a talk about Olson
and proprioception
and this couples to a following talk on the concept of _FIELD_ what a
field can be. how one part of a field affects another part
i think the _field_ notes are going to be published but i forget where,
maybe it was Robert Hampson who was sending it out as part of package
anyway, if not, and you're interested, i'll gather t and mail it
another recent link for me was seeing that Yvonne Rainer's films were
being reviewed in _Art in America_ remember her work on dance?
and did you cris already mention Mabel Todd's _Thinking Body_ or Willhelm
Reich's work on sexual energy?
i remember one performance at essex when cris was swinging a chair in the
air abouive the heads of the audience in a circle and let it go! now
that was unalienated labour
which reminds me, did you see that theorising on the Situationistes?
Sadie Plant: "Removed from (its) context, it can be like a series of
instructions about swimming: interesting to the non-swimmer, but unable
to express the wetness of water." I hope you caught all or some of the
recent (in fact 1995) French film _La Haine_ (Mathieu Kassovitz)
now back to the traps
allen
Rene Vienet notes in his book
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