cosmology

"PRODUCE A DETERRITORIALIZED REFRAIN
AS THE FINAL END OF MUSIC, RELEASE IT
IN THE COSMOS…" (a thousand plateaus)

DasArts Daily, Theatre in the future (year 3000) draft proposal

DasArts Daily, Theatre in the future (year 3000)
Everyone understand this as a draft for our proposal, a sketch of our starting points. Wednesday we will meet with the whole group (Cees has been out of the country) and hand in our final proposal/budget.

NANCY
My form of theatre making is deeply embedded in the particular lived experience of my ancestors. Cells of my grandmohters are in me , the patterning of her DNA I hold within me. One could say that the anatomy is, whether we like it or not, everyones destiny.

Nancy inspirate of the future she looks back into the ancient past - for instance some ancient practices you can be in the present and shift to the past and shift back to present, to constantly play with time and space in the landscape of the imagination.

KEES:
I am not so much concerned/interested in the future. The now is what concerns me. Though not the\'cafashion of every days madness. Not that. Today I had some small talk with Cees on the phone. It was for me an important small talk. We exchanged our believes briefly. I believe human conditions havent changed so much as we look back. Hope/despair/love hate, the whole scala of human emotions stayed pretty much the same. The instruments develop but we find ourselves in an eternal status quo. During my project with the factory I had\'caan interview with an economist. I interviewed him about happiness. One conclusion he made was that our hapiness depended on rivalry.

He stated that the new economy would\'camake people more free. I had to think about an essay of Umberto Eco.
Eco wrote that the socalled freedom would create another immovability -an emotional immovabillity which i experience when I watch sometimes news or go through a book on warfoto!
grafie. I remembered a book about a man who remembered everything in his life. He got paralyzed. This is sometimes how I feel. I recently visited South Africa. I had to to some work about war photography.\'caI got paralysed too. I got stuck somewhere between the local polo club and the shacks of Joburg. I am still laying there with my thoughts and feelings. Yesterday a man gave me a stone. I was just crossing the street and thought he was a beggar. I will bring you the stone.

ALISON
Various possibilities for somewhat dark, pessimistic views on both the now and the future present themselves.
Emotional paralysis/ Natural Apocolypse/ Fear etc etc - all in my opinion completely realistic - but what to do with this information? I must admit to having a desire to make something that offers not only a clear vision of the human condition but also one that offers some pin pricks of hope....
NICOLA

How could one flood the Frascati Theatre - how would it look like, how would one be able to get into/out of the building, what happens to the real estate? Building a model of this vision would be the second choice compared to doing the real flooding.


NERVOUS SYSTEM
NANCY
Since the body is not a natural given but shaped by cultural conditioning. It is the site where a society
norms and regulatory ideals are manifest, and where identity, as defined by gender, race and class is located. What hapens in a post-human society what happens when our electromagnetic fields merge with the electronic's of the city?

ALISON
Principles of connection and heterogenity: any point of a rhizome can be connected to anything other, and must be....A rhizome ceaselessly establishes connections between semiotic chains, organisations of power, and circumstances relative to the arts, sciences and the social struggles....There is no mother tongue, only a power takeover by a dominant language within a political mulitplicity. language stabilises around a parish, a bishopric, a capital. It forms a bulb. It evolves by subterranean stems and flows, along river valleys or train tracks: it spreads like a patch of oil...('a thousand plateaus' by deleuze and guattari

NANCY
We discussed coded language - the mutating language via the use of fast networked communication interfaces e.g sms.email etc. tatoos and criminals - coded embodiement - the crime scene

NICOLA
crime, future, apocalypse, cells, fear,...Assuming I commit a crime or I would be considered a person that is close to a terror organisation, in what kind of databases will my name appear? What kind of records does the world, the governments, the different countries keep? How do these database places, that name and track Bin Ladens and Carlos friends, physically look like - huge halls or basements, minicomputers and - where are they?
FORM
of the work - kees suggets it to be a journey so that we are all do our own work, e/g/separate entities since has done his group blocks at dasarts. then we have 5 different visions/solos in one evening...singular strategies to confront the problem!
A few people expressed that they would like to converge & make a work of theatre rather than a fragmented 'installation', which is why they opted for the project.

WORKING METHODS
20 days are reserved in our agendas for a full time commitment to this project. Sharing a rehearsal space seems the way to go - the space still needs to be found. Nancy created a Netspace in which we will exchange ideas, dump material and information.

methods of communication alison

methods of communication

As for the path forward - I have to think of the
book 'a thousand
plateaus' by de leuze and guattari (mille plateaux
originally) and
their ideas around rhizomes - or rather the system
of the rhizome
(bulbs and tubers are examples of rhizomes).

How could this eccentric/eclectic/ergonomic collection of individuals function?
A few quotes: Principles of connection and
heterogenity: any point of a
rhizome can be connected to anything other, and must
be....
A rhizome ceaselessly establishes connections
between semiotic chains,
organisations of power, and circumstances relative
to the arts,
sciences and the social struggles....
Principle of multiplicity....
What place could language have in this process?
There is no mother tongue, only a power takeover by
a dominant language
within a political mulitplicity. language stabilises
around a parish, a
bishopric , a capital. It forms a bulb. It evolves
by subterranean
stems and flows, along river valleys or train
tracks: it spreads like a
patch of oil...
How could we approach topics like emotional paralysis/ natural apocalypse etc etc?
Principle of asignifying rupture: a rhizome may be
broken, shattered at
a certain spot, but it will start up again on one of
its old lines or
on new lines.
etc etc

sorry, not more comes out tonight...
greetings
alison

3000 levitations in cultural debris nancy

IN CONCLUSION NANCY's paragraph for now: bodies. nervous systems. cellular networks. retrival of cultural debri and processing of it OUTPUT the traces.

Since the body is not a natural given but shaped by cultural conditioning. It is the site where a society’s norms and regulatory ideals are manifest, and where identity, as defined by gender, race and class is located. What hapens in a post-human society what happens when our electromagnetic fields merge with the electronic's of the city.

NERVOUS system, is the most prominate sensory perception. Historically, the accumulation of knowledge about the human body by the human sciences (medicine, physiology, psychology, ethnology, …) is intimately connected with the management of the body and the disciplining of behaviour. As a consequence, bodies have not only been literally mined and exploited for their productivity and value, but also been categorized as normatively legitimate or undesirable.

the sense organ - the nervous system - is worn thin - people are shells- character who comes to me :


history of falling. levitation
+dream time - virtual space space of journey. what happens to the imagniation when the aeather becomes colonised?

My form of theatre making is deeply embedded in the particular lived experience of my ancestors. Cells of my grandmothters are in me , the patterning of her DNA I hold within me. One could say that the anatomy is, whether we like it or not, everyones destiny.

The future she looks back into the ancient past - for instance some ancient practices you can be in the present and shift to the past and shift back to present, to constantly play with time and space in the landscape of the imagination.

just some inner thought/doubts-keesroorda

Dear all,just some inner thought/doubts.
 I am not so much concerned/interested in the future. The now is what concerns me. Though not the fashion of every days madness. Not that. Today I had some small talk with Cees on the phone. It was for me an important small talk. We exchanged our believes briefly. I believe human conditions havent changed so much as we look back. Hope/despair/love hate, the whole scala of human emotions stayed pretty much the same. The instruments develop but we find ourselves in an eternal status quo. During my project with the factory I had an interview with an economist. I interviewed him about hapiness. One conclusion he made was that our hapiness depended on rivalry. He stated that the new economy would make people more free. I had to think about an essay of Umberto Eco. Eco wrote that the socalled freedom would create another imovabillity -an emotional immovabillity which i experience when I watch sometimes news or go through a book on warfotografie. I remembered a book about a man who remembered everything in his life. He got paralysed. This is sometimes how I feel. I recently visited South Africa. I had to to some work about warfotografie. I got paralysed too. I got stuck somewhere between the local poloclub and the shacks of Joburg. I am still laying there with my thoughts and feelings. Yesterday a man gave me a stone. I was just crossing the street and thought he was a beggar. I will bring you the stone. See you all on wednesday. 

nicola paragraph for proposal or Proposal:A log, a multi perspective text document:\

Proposal:A log, a multi perspective text document:keywords:

crime, future, apocalypse, cells, theatre, fear,..
Assuming I commit a crime or I would be considered a person that is close to a terror organisation, in what kind of databases will my name appear? What kind of records does the world, the governments, the different countries keep? How do these database places, that name and track Bin Ladens and Carlos friends, physically look like - huge halls or basements, minicomputers and - where are they?
future

Future means being able to plan for the tomorrow. Animals do not do that, they just have instincts. Humans have plans, wishes, desires

natural apocalypse
is one vision of the future and therefore I feel like doing a cockroach performance... with the one and only survivors of the day after. Forget about the actor's means of expression.
OR: Researching how one could flood the Frascati Theatre - how would it look like, how would one be able to get into the building, what happens to the real estate? Building a model of this vision would be the second choice compared to doing the real flooding.

Working methods
1. Observation, .the group seems to be starting out as singular cells, singular strategies, singular aesthetics, singular working methods: the ones of a director, musician, dancer and performer. We will see how this cell structure links, connects, merges or remains isolated.
20 days are reserved in our agendas for a full time commitment to this project. Being together as a group in the same space seems to be the way to go. The rehearsal space still needs to be found. Nancy creates a Netspace in which we will exchange ideas, dump material and information.
Sources of inspiration:
Neal Stephenson, Diamond age, excerpt about actors/ractors}

reference material/ texts /books

Neal Stephenson,The Diamond Age or a young lady's illustrated primer[excerpt about actors/ractors]

ARTIST: Zager and Evans TITLE: In the Year 2525 hippy song

Fasbinder. play of woman who is a blank surface. title:

Pattern Recognition : William Gibson

notes of a dasarts graduate - preliminary discussion or The Voluntary Human Extinction Movement by nancy

Nicola Alison and Nancy discussed our traditional working methods to try and get an idea of how we may practiacally converge the conceptual:
nicola - text based bloking, repition
nancy- training. creating and reptition of the choreography/ performance. absorption of content via daily life.
alison - creates alone then takes composition to the musicians who play the score or makes up her own form and structure to improvise within.
cees?
kees?

Of course this above may seem to be a highly reductive account of the intense creative process but to simplify this serves the purpose of finding an entry point for the practical work.

FORM of the work - kees suggets it to be a journey so that we are all do our own work, e/g/separate entities since has done his group blocks at dasarts.
A few people expressed that they would like to converge & make a work of theatre rather than a fragmented 'installation', which is why they opted for the project.

Discussion about the black box and its relevance to the theatre in 3000.
Nicloa wants to make cockroach theatre and flood the frascatti.
Nancy likes that idea - sounds like it will be turned into an old space stationlike squat of those neo-hippies in 2092.
Actually if any of us thinks about the situation long enough, and makes the effort to work through those socially-instilled blocks to clear thinking, we will arrive at virtually the same conclusion: we should voluntarily phase ourselves out for the good of humanity and planet. SeeThe Voluntary Human Extinction Movement :
http://www.vhemt.org/

Thinking about: New forms etc. new materials and genres, which can be combined in numerous unexploited ways and offer new forms and images that may prove more consistent with the as yet externally unformed eexperience as reality, than those offered by the orthodox cannons of performing and fine arts.

+++
theme - there were concerns for accurate and appropriate framing of this groups work regaring making work around the theme theatre in the year 3000.

most people in the group expressed the vacuous nature of the theme and their inablility to even define what is happening in
theatre' now - let alone in 3000.

Nancy inspirate of the future she looks back into the ancient past for instance some anient practices you can be in the present and shift to the past and shift back to present, to constantly play with time and space in the landscape of the imagination. The rain and wind, the mind has imprinted itself upon the land, theatre allowed you to carve out a new space, if you have a good awareness of the laws of force and practices which you are connected to. My form of theatre making is deeply embedded in the particular lived experience of my ancestors. Cells of my grandmohters are in me , the patterning of her DNA I hold withih me. One could say that the anatomy is, whether we like it or not, everyones destiny. That is not such a limiting statement, after all, the micro patterns and processes of our anatomy unfold and reveal the macro history of the land, and the universe, at its miraculous usual.


we discussed coded language - the mutating language via the use of fast networked communication interfaces e.g sms.email etc.
tatoos and criminals - coded embodiement - the crime scene
history of a space: frascatti old tobacoo hall - then dance hall then theatre.
The Theatrum anatomicum, nancy talked of her 8 hour translocal performance intalatioon paying homage to this heavily coded and vexed space of subjugated knowledges.
url:
http://sistero.sysx.org/operations/augustoperation/eto.html

Neal Stephenson - The Diamond Age or a young lady's illustrated primer\

Miranda, how she became a ractor, her early career. (ractor is like a follow up to what is an actor, ractive are the"movies-pieces" they play in.)>From the age of 5, Miranda wanted to be in a ractive. In her early teens, after Mother had taken her away from Father and Father's money, she'd work as a maid-of-all-work, chopping onions and polishing people's sterling silver salvers, cake combs, fish trowels. and grape shears. As soon as she got good enough with hair and make up to pass for an eighteen-year-old, she worked as a governess for 5 years, which paid a little better. With her looks she probably could have gotten a job as a lady's maid or a parlormaid and become an upper servant, but she preferred the governess job. Whatever bad things her parents had done to her along the way, they had at least put her through some nice schools, speak a couple of Romance languages, draw, paint, integrate e a few simple functions, and play the piano. working as a governess, she could put it all to use. Besides, she preferred even bratty children to adults. ....Miranda finances herself the operation she needs in order to become a ractor:The tat machine worked on her for 16 hours, they dripped Valium into her arm so she wouldn't whine. Most tats nowadays went on like a slap on the back. "You are sure you want the skull?" "Yeah, I'm sure" "Positive?" "Positive." "okay." - and SPLAT there was the skull, dripping blood pressure that nearly knocked you out of the chair. But a dermal grid was a whole different thing, and a Jodie was top of the line, it had a hundred times as may sites as the lo-res grid sported by many a porn starlet, something like 10 000 of them in the face alone. The grossest part was when the machine reached down her throat to plant a trail of nanophones from her vocal cords all the way up to her gums. She closed her eyes for that one....she leaves her old job, takes the tube into the city and has her first audition:The theatre district had its good and its bad end. The good end was exactly what and where it had been for centuries. The bad end was a vertical rather than a horizontal development, being a couple of old office skyscrapers now fallen into disreputable uses. Like may such structures they were remarkably unpleasant to look at, but from the point of view of a ractive company, there were ideal. They had been designed to support a large number of people working side by side in vast grids of semiprivate cubicles. "Let's have a gander at your grid, sweetheart,"said a man identifying himself as Mr. Fred ("not my real name") epidermis, after her had removed his cigar from his mouth and given Miranda a prolonged, methodical, full-body optical grope. "My grid ain't no sweetheart," she said. Sweetheart and Hero TM were the same grid a purveyed to millions of women and men respectively. The owner didn't want to be ractors at all, just to look good when they happened to be in a ractive. Some were stupid enough to fall for the hype that one of these grids could serve a s the portal to stardom, a a lot of those girls probably ended up talking to Fred Epidermis. "Ooh, now I'm all curious," he said writhing just enough to make Miranda's lip curl. Let's put you on stage and see what you got."The cubicles where his ractors toiled were mere head stages . He had a few body stages, though, probably so he could bid on fully ractive porn. He pointed her toward one of these. She walked in, slammed the door, turned toward the wall-size mediatron, and got her first look at her new Jodie. Fred Epidermis had put the stage into Constellation Mode. Miranda was looking at a black wall speckled with 20 or 30 000 individual pricks of white light. Taken together, they formed a sort of 3D constellation of Miranda, moving as she moved. Each point of light marked one of the sites, that had been poked into her skin by the tat machine during those 16 hours. Not showing where the filaments that tied them all together into a network- a new bodily system overlaid and interlaced with the nervous, lymph and vascular systems."Holy shit!" Got a fucking Hepburn or something here." Fred Epidermis was exclaiming, watching her on a second monitor outside the stage."It's a Jodie," she said, but she stumbled over the words as the field of stars moved, tracking the displacements of her jaw and lips. Outside, Fred Epidermis wielding the editing controls, zooming in on her face, which was dense as a galactic core. By comparison, her arms and legs were wispy nebulas and the back of her head nearly invisible , with a grand total of maybe a 100 sites placed around her scalp like the vertices of a geodesic dome. The eyes were empty holes, except (she imagined) when she closed her eyes. Just to check it out, she winked into the mediatron. The sites on her eyelids were dense as grass blades on a putting green, but accordioned together except the the lid expanded over the eye. Fred Epidermis recognized the move and zoomed in so violently on her winking eye that she nearly threw herself back on her ass. She could hear him chortling. "You'll get used to it, honey'" he said. "Just hold still so I check the sites on your lips."He panned to her lips, rotated them this way and that, as she puckered and pursed. She was glad they'd dragged her out of her mind while they ere doing the lips, 1000s of nanosites in there. "Looks like we got ourselves an artiste here," Fred Epidermis said. "Lemme try you in one of our most challenging roles."Suddenly a blond, blue-eyed woman was standing in the mediatron, perfectly aping Mranda's posture, wearing big hair, a white sweater with a big letter F in the middle and a preposterously short skirt. She was carrying big colored puffy things. Miranda recognized her, from old passives she'd seen on the mediatron as an American teenager from the previous century. "This is Spirit. A little old-fashioned to you and me, but popular with tube feeders, "said Fred Epidermis. "Couse your grid's way overkill for this, but hey we're about giving the customer what they want - moving those bids, you know. ... Let us run a scene....Fred: "Keep in mind we usually play this through a head stage, so you don't control Spirit's arms and legs, just her face-""How do I walk around?" Miranda said. Spirit's lips moved with hers, and from the mediatron came Spirit's voice -squeaky and breathy at the same time. The stage was programmed take the feeds from the nanophones in her throat and disp them into a different envelope. "You don't. COmputer decides where you go, when. Our dirty little secret: This isn't really that ractive, it's just a plot tree - but it's good enough for our clientele because all the leaves of the tree - the ends of the branches, you understand - are exactly the same, namely what the payer wants - you follow?...there is more to come...\

meet wednesday the 30th, 11:30 Overtoom 301 floor 1.

budgetwise i thought to add printing some
postcards/flyers. i like to have something like an
invitation to give out...what do you think?

then there is an excerpt of this book i talk about all
the time: diamond age - just to give you an idea.
the year 2525 is a hippie song you guys might now -
more a fun text that i thought of when i heard about
the topic, not a big interest.

then the document interest, which i hope could be
something like a start for a proposal - i enjoyed
fucking around with the word log, if you do not like
the structure, kick it out, or whatever. the keywords
are things that came up in our discussion, (there were
more: nervous system, tatoes, reality...) and i filled
in what i am interested in. maybe we can just extend
the list, the entries/logs? and concrete ideas?
working method i wrote down how i remember our
agreement, but maybe you disagree or understood
something different -hm, what else?
yes, i have little time on sunday to write stuff,
saturday and monday i can work on things.

greetings nicola

preliminary talks/ budget

hello,
i enjoyed the hours with you in the sun...and looking
forward to work.

after our meeting yesterday we came up with a budget.
it is based on the real prices, meaning, this is what
it would cost to make a project under normal
conditions...
we can always cut back later .
alter the document if there is anything in there we
forgot.
also we thought about asking whether we can have the
honoraria from the ppl that quit the project (ine,
lisbeth, tanya..) to put that into a technician
(frascati people will be superstressed, dasarts people
also diveded by hundreds..so we need our own.) or
actors.
officecosts are high, because we should also consider
our dinner/lunch
we have in 3 weeks rehearsing plus the one from actors
and allow us some kind of subsidy..