Animal Performances (for Animals) ~ video

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Whilst reading please listen to >>>

I believe today we are temporarily preexsposed to the conditions of animate, so and and again lesser to animation.

performances for animals and videos for?

The audience is dead long live the undying.

A friend tells me I don’t want to do performance for the public any more. I agreed. But what does that mean.?

The choreography uses representation but does the representation function for the performances to create pleasing behavior for the cat/animal or in fact does the representation function for the cats as representative.
I was once told art is always representation.
And my question to the notion has been then what is everything else?!

ever so qualitative.

Is concern and care the mark of a hand like human? or just an instrument in a scene change

how exciting my reaction to the reaction of the animal, i cant help feel like im being told to spectat the spectator. to spectat myself?

What is the plurality of the title performances, are there more than one and there many a art object a representation. Is it possible for multiple as the conduct and codes of human speculation and not the same as animals. leaving the performance unable to be framed, apart from the saddening i feel with two giggles and the video ending.

Absurdity.

I would like to place this pleasant friend Absurdity along side work, job, profession etc.
Work seams to act like a justifier of function. My work is my function. In life society the general progression of human history. each day and job is a little part of this greater than oneself’s value.
But this does leave the unemployed and the constant legitimatizing and conservation of certain jobs/work and work in general. Sadly linking work to ones personal worth and importance. And causing illegitimate, unnecessary and harmful activities to be enforce encouraged in the name of ones own worth and importance.
It is ever so more obvious with the increase of technology that function in the terms of paid labor is replaces by cost effective and more efficient methods needing less person power.
And with which i would not try and save the dying jobs of the future by creating more knowingly of unknowingly unnecessary/nonfunctional jobs. and begin to understand function outside of these systems or even better to value other activity than that classified as work. and in doing so value persons outside of the work ideology.
But the art worker or at least art itself which i believe does not have to lie within the realm of work (see my text on amateurism). Art provides the investigation, the understanding and space for value outside of function.

A bliss a love an encounter a message a means a future for and with absurdity.

Thank you Krõõt Juurak beautiful wonderful hopeful amazing WOW.

Thank you Krõõt Juurak and Alex Bailey beautiful wonderful hopeful amazing WOW.

//player.vimeo.com/video/96734542

Animal Performances (for Animals) by Krõõt Juurak and Alex Bailey from Krõõt JuurakKrõõt Juurak and Alex Bailey perform for a cat in Zürich, Stromereien Performance Festival.

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This is apart of a series of Reformulation* writings of and around choreography, posting once a week ever Sunday If you have comments you can leave then on my facebookwww.facebook.com/thepersoncalledpeter or my wordpress stillpeter.wordpress.com . Kindness and Sweetness PETER

*http://reformulationhandbook2013.tumblr.com/

SHAME ~ video

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SHAME IS PUNCTUATED BY SILENCE.

WE WILL WRITE A HISTORY OF FORM IN DANCE. THE CATALYSTS OF MOVEMENT.

FROM BODY TO ABILITY FROM EXPRESSIVE TO SENSIBILITY FROM SOCIAL TO REPRESENTATIVE FROM GETTING IT RIGHT TO IMAGINARY TO THE DISPLACEMENT OF AUTHOR.

SHAME IS A HOME YET THE WALK OF SHAME IS MOST OFTEN INDEFINITELY NOT AT HOME. THE WALK OF SHAME REQUIRES A CERTAIN FULFILLMENT OUT OF NORMATIVE FUNCTION. SHAME PRECEDES THE INEVITABLE TRUTH A TRUTH TO COME, LETS CALL IT FRANK.

THE SHAME GLAND HOW EVER EXISTS INSIDE THE RIGHT SIDE OF THE FACE CONNECTING WITH THE CHECK BONE. IT IS SHAPED LIKE A MUTATUS MOTHER CLOUD (ALTOCUMULUS CIRROCUMULOMUTATUS). IT IS A VISCOUS PALE YELLOW SPECKLED WITH BLUEY RED NODES WHICH BARE FAINT STREAKS OF LIGHTING BLUE. WHILST PASSING THROUGH ARE THE FLUIDS OF REMORSE AND HOPE, FACILITATING THE LUBRICATION OF LOVE AND EMPATHY.
MEN MORSE AND QUEENS DIE FEELING PREY PASS OK TELE.

THE DECLARATION OF COMPASSION 1983. – WE HERE ARE KIND CAPTIVATED PARTICIPANTS PRONE THE BLIGHT YET FREE FROM CERTAINTY. MESSENGERS ARE FULL PART IN LULLED HEART, SO TO GIVE FORTH A WORD OF HAPPINESS “DESTROY”, THAT WHICH SERVICES NO MORE, THAT WHICH IT’S ARGUMENT IS ILLEGITIMATE. ACTIVE IN THE QUESTION AND DAMMING IN THE FACE OF ILLEGITIMACY. MOVEMENT SURPASSES AND ACTIVITY GIVES SPACE BUT SUBMISSION ACTS HARMS AND DISPLACES. MAKE SPACE AND DESTROY

THANKS

by Frédéric Gies and Andrea Keiz

Shame the 5th video of ALBUM (Praticable)

And this week an extra:

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McDONALDS THE REFUGE OF THE PRECARIOUS.

This place we come to hate because of its murders, capitalist, unethical ways provides a space late at night, a glowing light of warmth where status is no threat and its mindless ambition becomes a prison we can rely on, it walls are security even for the most insecure.

As McDonalds has been reduced to its simplest function to make profit. To such a degree there can no longer be any empathy for its name. It services and functions in our continuation to screwing over one another. Everything is built to continue even when it is being attacked. An endless supply of worker await to replace the ones that disappear or break, their value placed perfectly balanced between absolute despair and insecure. The managers, CEO’s and shareholders are many arm lengths away without ever having to feel the consequence of their actions or activity, as well as the out sourced and distanced resources, animals caged in unknown lands. Or we could look at the building a furniture itself removable and plastic easy to clean and replace. And the customer provided with low prices, unbeatable hours and stores on every high street. All they need do is wait and business continues as usual 24/7.

McDonalds are reduced to an empty emblem of passing capital, no reason, no value and no importance. Creating a space which means no exclusion. The fact “no one cares” it provides a space for the uncared for. The sad, the lonely, the stupid, the different, the drunk, the sick, the ill, the homeless, the paperless, the beggars, the alcoholics, the drug users, the hopeless, the ugly, the bad, the unprofessional, the unemployed, the overemployed, the unsociable, the old, the young, the slow, the fast, the …

But im not really interested in Mcdonals i’m interested in what it reflects. The places these people can’t go. The complex prison we pass though in and out of, notice and ignore. The places where not everyone is welcome.

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This is apart of a series of Reformulation* writings of and around choreography, posting once a week ever sSunday If you have comments you can leave then on my facebookwww.facebook.com/thepersoncalledpeter or my wordpress stillpeter.wordpress.com . Kindness and Sweetness PETER

*http://reformulationhandbook2013.tumblr.com/

Dance your PhD ~ video

A conversation caught my eye because I myself am an advocate of amateurism and against professionalism. For me the professionalisation acts as a form of domination which is unhelpful but with that being said I believe there is benefits from being experienced in a field as long as it is not dominating it.

So i decided to challenge and take on my own argument and write some reviews of the videos as a way to critically view the pieces from my perspective as a choreographer.

Reviewing the videos within a frame of reviewing, rewriting, retexting, reusing, dance videos which i have been doing every Sunday for the past few months at http://peterpeteringout.tumblr.com.

I’m writing this before starting watching or writing about the videos, and hope that the outcome gives an impression of how these videos could be seen not only as dance and choreography but as great additions to dance and choreography.

ok first video (the one is question the winner of 2014)

Plant-soil feedbacks after severe tornado damage: Dance Your PhD 2014. ~ video

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When I first think of operating together in a space I believe that every little event plays a part, that we our relations values communities and actions are a composite of all that leads to that place.

Effect and effected, one of the striking things is the type of people and the presumptions I apply. o dreadlocks o on a trapeze o shes a biologist. But does this effect?! The same as; the order of things or the framing or the music?! I know I think about it but whether there is a clear effect I don’t know.

I would rather think it like every part is apart of a melting pot and as things add combine they inform and continue to inform without one thing being more or less the thing which constitutes the generalised tone or feeling but that the generalised tone or feeling is not one thing but many. many simple things, basic things.

Brown
shake
life
reflects
moves
shifts
feels
change
chance
undo redo reorder
thrive
breath
feel
together
importance

Like a list with all their associations and combinations a seaming complex general feeling from a multiple of basic components.

Brown – royal snake la, shake – make distill cake, life – real can feel gives kiss, reflects – tech, moves – choice do’s and does, shifts – lives again rain, feels – peel, change – chance happenhance, chance – relative mass, undo redo reorder – renew true accord, thrive – ties my eyes, breath – fears, feel – be real, together – never and forever, importance – question.

Mine and find lives parts happy and as part.

//player.vimeo.com/video/107412178

Plant-soil feedbacks after severe tornado damage: Dance Your PhD 2014 from atinytornado on Vimeo.


So back, that was interesting perhaps because i have put this within this context i describe more and tried to make sense. I will do another, winner of the audience choice.

Multiple Robots – Dancing Tango ~ video

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Collide Collide Collide Collide

Be
come together
become

What are we without mistakes.

tango music hits bangs bumps and meets me.

desperation rides through me like an unstoppable urge for action.

I feel the absence the loneliness of never meeting never understand
or those near misses the close encounters the brushes with touch combination and becoming one, the glides of 1 in the binary series of on off on off 1 0 1 0 1 0

0 holds on maintain and gains as the hope the promise of 1 alludes the most romantic of individuals.

Love

//player.vimeo.com/video/103019777

Multiple Robots – Dancing Tango from Venanzio Cichella on Vimeo.


I really enjoyed that one.

ok one last video. It is where “dance your phd” started when some students asked there teacher if they could make a dance about Protein synthesis.

Protein synthesis: an epic on the cellular level ~ video

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Form and value disrupts and narrates, the shifting in value attention and play does not provide another over lord. nah places use inbetween within places unseen. ghostly apparitions and miracle begin. Mine is a third not of this erk part in part formed and important but less of both and both of each with space inbetween. To arise and fall to follow and prey. faith in faithless causes bring forth a story unsordid to be experienced a felt and left if with unhelpful. Mind in adventure a heavenly plodding and time in play. messy give mind and fine and find holding tight around guess at unknown bounds.

bliss with a kiss.

woo woo woo peptide bond.

clipping clipping clipping inside

Released in its glee.



I have to say i advocate “dance your PhD” because i truly believe dance and choreography have so so so much to offer, to everyone. It inspires me to see such inventive and exciting information put in these eloquent gestures majestic, exciting, adventurous and promising ways. Promising of a place where hierarchy and power is not used for domination but for adventure, love, compassion and everyone.  

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This is apart of a series of Reformulation* writings of and around choreography, posting once a week ever sSunday If you have comments you can leave then on my facebookwww.facebook.com/thepersoncalledpeter or my wordpress stillpeter.wordpress.com . Kindness and Sweetness PETER

*http://reformulationhandbook2013.tumblr.com/

Hangover ~ Video

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HEART BROKEN IN TWO:-

Sleeping on train »»>
Making a sandwich …….
Moving cardboard ||||||
Happy heart, playing in the park !!!!!!!
Together }}}}}}}}}
lying on back watching the stars ]]]]
Thinking about the next game of thrones =====
Smiling ,««<
Crying “”“”“”“”“”
open

REAL BAKEDBEANS DON’T COME FROM A TIN THEY COME FROM THE HEART.

########HANGOVER BY CSS MARKS A PASSING OF TIME BY DEMONSTRATING A OUT OF TIME PLACE&&&&&&&&&&&&&I FEEL I KNOW LESS ABOUT WHAT I WANT AND WHAT IM DOING APART FROM THAT I AM DOING, THERE SEAMS TO BE A LACK OF VALUE IN THINGS WHICH BREAK WITH THE EVERYDAY*****************THE LOVELY LINE BETWEEN THE TWO PLAY AN IMPORTANT ROLE BUT DONT HAVE A ABSOLUTE ANSWER^^^^^^^^^^^^BUT A CLEAR QUESTION@@@@@@@WHAT WILL WE DO WHEN WE ARE ALL UNEMPLOYED?~~~~~~~~~~~~~~~~~HANGOVER FROM LIFE AS WE KNOW IT+++++++++++++++++WHATS NEXT“““““““““`UFL_________PARTY PIZZA PRANCING PLANKING PLOPPING PEERING

WHATEVVER THANK YOU CSS

Lovefoxxx
Luiza Sá
Ana Rezende
Carolina Parra

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This is apart of a series of Reformulation* writings of and around choreography, posting once a week ever sSunday If you have comments you can leave then on my facebookwww.facebook.com/thepersoncalledpeter or my wordpress stillpeter.wordpress.com . Kindness and Sweetness PETER

*http://reformulationhandbook2013.tumblr.com/

Chair (1974) ~ Video

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I’m here watching Chair in Kungsholmen Library 26th of October 2014 at 12.00 after a morning of cleaning because of sliver worms in the hallway. Missing something well here we are.

Repetition is a tool so familiar yet still miss understood. What do we mean when we say something repeats. The dance was repeated six times or was it six version of the show shown at different time. The film has been played 337 times, repeated 337 times but not seen the same 337 times as that would need for conditions of the viewer to be the same. But yes if repetition can be isolated from its context like the tree falling in the woods its repeats.

But where is the repeat starting and finishing. Repeat a day. Repeat the passing through the hallway. Repeat a fall. Repeat the movement and reverse and repeat again or but yet we see it. We understand process.

The long repetitions are hard to understand as singular things, they pass like history passes. But the small looped movement in see understood and becomes apart of a language it is understand as a thing and a single, like the ticking of the clock it is understood.

When we stand in front of a painting it is done complete ready for consumption ready to be used applied to the viewers options ideas and life. But the performance continues one must wait before passing judgment before using it as it is not whole complete. This incompleteness is one of my difficulties with dance its hard to watch. Yet other performative long duration art pieces are not in the same way. And here i proposal it has to do with what is demonstrated with these two different types of repetitions. Where performance art would most often be the long repetition and paintings etc the short.

The chair is perhaps one of the shortest repetition of a art object. It is unquestionably finished, as in it is a chair and even when questioned, played with we still managing to hold onto is completeness.

Where as these bodies they are not they are difficult hard to pin down, We think we know but really we don’t know, even when still, standing, holding a single form, they allude conclusion.

It’s a circus in there.

Thank you

Work by David Gordon
Performed by David Gordon and Valda Setterfield
Recorded in performance on September 30, 1978

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This is apart of a series of Reformulation* writings of and around choreography, posting once a week ever sSunday If you have comments you can leave then on my facebookwww.facebook.com/thepersoncalledpeter or my wordpress stillpeter.wordpress.com . Kindness and Sweetness PETER

*http://reformulationhandbook2013.tumblr.com/

Luxuriant: Within The Reign of Anticipation ~ Video

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Revolving (reevolving). YOUARE IN THIS WITH NO POSSIBLITY OF ECSAPE. Dead end or place of all. flicker skip jolt stutter blurred mingle cringe reemed roar raw reawe. Around all sound, no noise, This is a dependency. These faces partake watch on, bare witness see seen in curiosity dark marks leave title room for hopeful perverted interpretations, yet in the night the majestic happenings and movements the awe of this part in this place next to this abyss of awe for all. No know known knowledge parted impart like our whole inverted function Mine in my mind leaps in flinch moves in me no problem open in resources free for all in place of this case squirmed redeem nonsense reduced here welcoming homely comfort A REAL UTOPIA a pre-post-capitalist dream.

Under stones, behind walls, within the cracks, hidden by shadows lies the promise which exists in plane sight. A call for value redistribution.

Beauty

Beautiful

Fantastic
Brilliant
Marvellous

Perfect

Luxuriant: Within The Reign of Anticipation

THANK YOU

Simon Vincenzi
Troupe Mabuse

LUXURIANT has been presented in 2010 at Istituto Svizzero di Roma and Crisalide Festival, Italy.

Also see

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This is apart of a series of Reformulation* writings of and around choreography, posting once a week ever sunday. If you have comments you can leave then on my facebookwww.facebook.com/thepersoncalledpeter or my wordpress stillpeter.wordpress.com . Kindness and Sweetness PETER

*http://reformulationhandbook2013.tumblr.com/

suck it up-art ~ video

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Real for real an ar art arcarchist arc athartic athe athletic asthetic esthetic.

Rooms are made for tookacan carna feeling lamam filling med charma kiss blish tis lisp in fact royal to coiled toon full floomy. Real peel. Zeesty feel. Take cation place ton fone lilly traction. micky sound anitthesee for misy.

Tack for pillard.

Freefreeze. havent tin sound ongo in. Like a town toy for treal not alone hopes still near, lessening mig fear. ALSOLUTE CLEAR WE HAVE ALREADY HERE TOGETHEFRIEND NEXT SOME PODY.

Coats on.

Doesnt surely matter whats what wot its mine its our alone or with thee. CARE meeig lare

popcopsloppmopnujopp              (bang)

MEOWWACULÖSS

The next par+ty must buuuu luvv tin coonrown alown loud…

BUT 1 QuEStion why ComedY__!! Tis real… no joke

(((////&&&%¤##””!!!??___——————CUT—————++4394”###¤&#”!!½!½===)=))=)((E#ER

R

WOWTHANKYOU – Elise Sjöberg Ellen Söderhult Ellen Söderhult Elise Sjöberg

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This is apart of a series of Reformulation* writings of and around choreography, posting once a week ever sunday. If you have comments you can leave then on my facebook http://www.facebook.com/thepersoncalledpeter or my wordpress stillpeter.wordpress.com . Kindness and Sweetness PETER

*http://reformulationhandbook2013.tumblr.com/

STREETDANCE ~ Video

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Enorm ~~ The cavernous echo on  the walls of the valleys and mountain ranges ######### ee-nawrm.
Expansion~~ Cells interact with the cosmos inflating and measuring their combined conditions ######## ik-span-shuh n.

Crescendo~~ Gradually the activity reaches and for a effect a mighty pulse like movement from within the complex arrangement of parts. ######## krə-ˈshen-(ˌ)dō.
Ne plus ultra~~Wave crash refresh and star again building up towards to some never reaching end and constant coming in the darkness. ######### nā-ˌpləs-ˈəl-trə, ˌnē-.

Irreprehensible~~The persons sat together waiting verdict yet with non is sight as incite provides incite and time removes all vindication. ########## i.ʁe.pʁe.ɑ̃.sibl.

Are stories untold still stories? do we know where to go? do we know where we go? when voices are unheard do we exist? the cause and effect of a life! does it make patterns in the sand? When we do, do we do it for you, or do we do it for doing it all the same?
our community our space our time our placeThat unheard song that time to move on that moment in time that following of a line the repetition of a day the repetition of a generation a fault a mistake a success a willed expression, are we like a gain of sand functioning in the movement of it all and ultimately like the sea and its waves moving though time going some where but nowhere in particular.

THANK YOU

choreography and dance by frederic gies, directed by andrea keiz, sound and light design by ruth waldeyer

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This is apart of a series of Reformulation* writings of and around choreography, posting once a week starting August 2014. Kindness PETER

*http://reformulationhandbook2013.tumblr.com/

Ingenue ~ Video

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The body is a stage informed by movement.

Lets define movement:-

move·ment  (mimagevimagemimagent)n.1.

a. The act or an instance of moving; a change in place or position.
(to quote a someone)
a change in place or position a step away from the other or and also towards the other, an exchange of of one position for another position.
Note practical task for read: from this position can you experience another position without changing to the other position in question, and then once in the other position can know the experience of the position you were in now in the other position, or would one have to return to the first position in order to absolutely know the conditions of the postilion.

The question being what are the echoes the experiences we remember of an experience is not apart of the position we now hold.

Are we still (not moving), never leaving our own position but also and always in, complete and absolute movement?

which also asks is doing better than not doing or do we loose out of the not doing by doing and thus also loosing out or the reversing always gaining?

nothing better nor worse… all the same all just another name for the same differences and unique monotony.

This plan of yours is my plan absurd and mistaken for our plan, to chance its all and make a change to nothing at all risking everything.

This is the perfrect place to lay down the acts of kindness, understand and helpfulness we playfully places as “please do not disturb” signs on our doors… CHANGING NOTHING AT ALL BUT EVERYTHING IN TURN.

Thank you
Dancers: Thom Yorke and Fukiko Takase
Director: Garth Jennings
Choreographer: Wayne McGregor
Production Company: STK Films
Producer: Helen Power
Director of Photography: Nick Wood
Editor: Dominic Leung @ Trim
Focus: Karl Hui
Gaffer: Paul Allen
Make up: Carol Hart

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This is apart of a series of Reformulation* writings of and around choreography, posting once a week starting August 2014. Kindness PETER

*http://reformulationhandbook2013.tumblr.com/

Chandeller ~ Video

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Child in mind, we are divine.

What I like is the majestic realism, canned with absurd constructed bullshit mixed and translated with in love and hope powerful will. Girls are alive, (all for tonight) we know the shape the form which comes forth and threads its impossible miracles, no the less there is a bless part in the heart without surety or even security, lying in plain sight. Real might may not be right but it is all ways in sight, as we say in my home town its going to happen anyway. We grow up alone confused and shelter hopefully we lack to common respect and decency of not knowing any more we know we should or should some how know yet our voices echo that of myth, at odds with the stories we tell ourselves. Manipulated a covered maybe what who isn’t, and why is the problem large when faced but the operative with our daily lives keeps a shadow on the reality that we don’t know and yet follow and reductive smoke screen. Bleeming, sketches from the fridge, the achievement of childlost adults, WE ARE NOT WRAPPED IN MISERY we are here, just not a sure and clear as we pretend to be. So these concrete walls the systems of our freedom bleek the reality that were scared alone and bound to bounce if given the chance to not have to be strong clear and here. To be distance confuse and moolandy. Chirst candy formed heart bleed sweet unadultrated turnturths. MISCAKE PARTIES FOR THE FUTURE onetwothreefreeonetwothreefreeonetwothreefreeonetwothreefreeonetwothreefreeonetwothreefreeonetwothreefreeonetwothreefreeonetwothreefreeonetwothreefreeonetwothreefreeonetwothreefreeonetwothreefree

IT DOESN’T EXIST

* * * * * * * *
dancer Maddie Ziegler
choreographed by Ryan Heffington
directed by Sia and Daniel Askill

Thank you

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This is apart of a series of Reformulation* writings of and around choreography, posting once a week starting August 2014. Kindness PETER

*http://reformulationhandbook2013.tumblr.com/