Collections of Thoughts and research materials
Peggy Phelan: “Performance’s only life is in the present. Performance cannot be saved, recorded, documented, or otherwise participate in the circulation of representations of representations: once it does so, it becomes something other than performance. To the degree that performance attempts to enter the economy of reproduction it betrays and lessens the promise of its own ontology. Performance’s being, like the ontology of subjectivity proposed here, becomes itself through disappearance.” (p. 146)
What would stay and be permanent? What is the ontology of each elemetns?
Archive and Performance
Flesh and Bones
the "bones" that's left after a performance and the "bones" that reenacts, inspires new performances
Although the ontology of performance might be able to resist capitalism, but if the creator is corrupted in it, then the interpretation and the spectators' experience would be unavoidable from this corruption. (my thought refering to this)
"Her argument differs not so much in her analysis of performance, which she argues is ontologically unique, ephemeral and pervaded by loss, but in the positive value she attaches to this evanescence. Rather than deploring its impermanence, its lack of durability, she celebrates it, claiming that it constitutes performanceʼs political resistance. Because it cannot become an object and cannot be reproduced, performance resists commodification and hence capitalist exploitative regime, Phelan argues."
-Myriam Imshoot Rests in Pieces: On Scores, Notation and the Trace in Dance
“Effective democratization can always be measured by this essential criterion: the participation in and the access to the archive, its constitution, and its interpretation.”
Jacques Derrida, Archive Fever (p. 4)
The interwined nature of matters.
How the archive is related to imerialism and patriachical domiciled limitations; reflecting on HK:
"bones" are definitely burned to ashes, while the flesh is locked up or flee the city..
"Thomas Lehmen too, wants the audience to have full access to the score, which they can hold in their hands while watching the performance of Schreibstück.15 According to Lisa Nelson, such a democratic “sharing” of the tools will help the audience enhance their observation: “When the intelligence of the system appears it can be very fun”. Ultimately, the aim, she says, is not the score itself (its execution) but what it produces and facilitates. Scores are not systems to cultivate as such, but a “generatrix” for more complex interactions to happen and to observe."
-Myriam Imshoot Rests in Pieces: On Scores, Notation and the Trace in Dance
Individual archive vs archive for all (or at least more)
visceral, olfactory affects in terms of power construction and quotidian matters from an anthropological and sociological sense.
relating to text by Martin F. Manalasan IV
"Immigrant Lives and the Politics of Olfaction in the Global City
a female, asian body, between gaps of traditions and modernity.
This emphasis upon the visual reduces the body to surface, marginalizes the multiple sensuousness of the body and impoverishes the relationship of the body to its environment. And at the same time the visual overemphasizes masculinist efforts to exert mastery over the female body, particularly through the voyeurism effected via the pornographic picture (Taylor 1994: 268). By contrast a feminist consciousness emphasizes the dominant visual sense less and seeks to integrate all of the senses in a more rounded way, which does not seek to exert mastery over the ``other'' (Rodaway 1994: 123). Other writers have particularly emphasized the significance of aural traditions in women's lives ± especially within socially dense urban areas ± to talking and listen- ing, telling stories, engaging in intimate detailed dialog or gossip and the use of the metaphor of ``giving voice'' (Hibbitts 1994: 271±3).
"City Life and the Senses"
-John Urry
2022.06.07
Improvisation with 3 motives
on the IG Farben Scenic Project
according to suggestion by Diego Rotman on the concepts of "choreography of memory(or forgetting)" or "embodying shame"
1.the connection of neurons, from head to the whole body. notes: can be further develop, the quality of embodying and sudden lose of consciousness
2. movement of releasing and letting go. notes: the intention and direction is not clear
3. the visualisation of shame and the motiv to try to take it off. notes: might work even better with clay/ materials on the body
To look into:
The Sweet Scent of Decomposition by Bauman
"Bauman submits that decomposition has ``a sweet smell,'' exerting its revenge upon a modern world which cannot be subject to complete purification and control (1993)."
Sensory in dance/movement
and an existing "sensory order" that social actors subscribe to. (Low K. 2013)
-Sensing cities: the politics of migrant sensescapes