Tuesday, October 30, 2007

bivak gloria: week #2

is there a resemblance of color in movement?
black-white movement? coloured movement?

Alan Charlton, untitled MuHKA Antwerp. Belgium

I'm ready to explore more about this actual space, what is it that I can do HERE and with THIS installation. what kind of movements fit here, do I want to have here? what about the recurring elements?

musically I am experiencing a trip into the past, Béla Bartók's The Wooden Prince, Bear Dance, but also this morning Guillaume Dufay, Ecclesiae Militantis, a pioneer work of the Ars Nova at the end of the Middle Ages. I've tried to work with this piece of music earlier, at the EDDC in Arnhem, back in 2001. (see also the painting by Hieronymus Bosch earlier in this blog)

Saturday, October 27, 2007


how can we realize a society that succeeds in achieving reliable collaboration and co-production without the chains of feudalism, exploitation, the right of the strongest, disaster capitalism etc.?
the alternative to the 'Borg' of StarTrek is the community family - both minimise the ecological needs / footprint of the individual and ensure skillful and efficient co-operation, however with very different options, for example how to choose alternatives, how to develope further, experimenting with radically different solutions.

not having to be slaves to either nature or each other or our individual moment-to-moment frustrations. but understand and adapt to the needs and potential of our given situation here and now and find the best possible solution for all involved.

such a lifestyle requires open-ended thinking that includes non-finished or seemingly non-finished, not yet conscious, not yet communicable patterns as well, next to the ones that are clear, established and have proved their usefulness.

it seems to me like we are on a way towards the possibility of an ever more refined culture that needs ever less intrusion into our present state, because of having more possible solutions present as options for how to deal with moment-to-moment challenges. that way our culturre doesn't have to remain overpowering the very areas it tries to incorporate / include / understand (NOT only after assimilation, but by gradual adaptation and decision-influenced osmosis)

our bodies are excellent examples in themselves. they operate with reliable structures, also on a cellular level (e.g. enzymes) but always with infinite variations that are embodied in an in-itself open-ended system.

live-dance /performance is an excellent example for this in the arts. it is with this in mind that I take very careful considerations before I agree to set anything, and certainly not in terms of timing or sequence, unless dictated by adapting to given circumstances that I cannot change at all. even then I always prefer what Mary Fulkerson-O'Donnell calls the breathing form. to give maximum space and possibility for the potential of the inspiration / best solution of the moment to manifest itself as completely as possible, to happen in its optimal way, beyond what I can understand or control completely, in agreement with conditions in levels beyond myself and my range of options, including 'mistakes'

through repeated exploration and trials based on interest, patterns will emerge through variation-rich repetitions. like several visual patterns superimposed, the intersections create more solid forms, structures, sequences, codes, libretti etc.
even then, there is always a realm that is not yet present, that is still in the process of becoming. like never having stopped to process food into vital nutritients for our well-functioning. and I want congruent structures that make sure optimized 'organic' co-functioning of all related agents / elements / structures / energy-waves, whatever the goal is.

this esthetic is dictated by my awareness of the ever pressing need in my time and society / planet / space dimension for more efficient, less polluting, less aggressive / frustrating functioning / solutions.

and so I say yes to Improvisation, Yes to Open Form Composition.

additional note / November 7th 2007
I experience Open Composition as a base for work, not necessarily an end-all. sometimes it is very good and very exciting to try to repeatedly solve a problem with a very closed set of parameters, even one that comes very near traditional Composition.

if Open Form Composition is acknowledged as a greater container within which such forms of composition can emerge, and the potential for openness is better acknowledged and trained for, decisions about which parameters to close or 'set' could become better thought through, less subjectively haphazard or another re-run of yet another tradition.

generally I like it better if a system / composition can grow through repeated trial and error with very little set at the beginning. leaving a lot of (mental) space for elements that are important for a composition to become manifest in their very own and authentic ways, before making greater decisions about what to combine how and when.

I believe this approach can bring forth more intelligent and effective as well as efficient solutions and wonderful moments of art and performance...

Wednesday, October 24, 2007

bivak gloria ii

fulfillment in paradise...

i reach a point of disillusionment, being thrown back upon myself

after all these ideologies and promises of a better world, IF ....

Monday, October 1, 2007

more plans for Bivak Gloria

after my exuberant solo at 60x60 it's time for me to re-evaluate minimal, very body-oriented dance. anatomical exactness, joint by joint, of which we have several hundred (more than a dozen in just our feet and hands alone). organ-states, muscle states. my functioning, continuously self-massaging, ongoing body.

how looking, hearing, action influences that.

and to really go for play, the value of play.
with Dwight, Robert, people who come and visit...