Monday, April 30, 2007

Fake Science

Fake Science a smaller music seller.

- See: Terms

:: note :: ...iTunes needs a reality check away from the mainstream ... more choice ... less restrictions ...

Saturday, April 28, 2007

MapmyName

MapmyName



via Conversations with Dina


- See: terms


:: note :: ...risk digital grace ... gift each other connection for no particular reason than the joy of connection ... it is a risk to reveal info ...

Thursday, April 19, 2007

Moon Dog



A picture named foto © r.trepanier ca-nada">

A young girl found herself on the moon. The stars above seemed so close that she reached up with her right hand stretching her arm higher and higher till she plucked one from the sky. The star whispered quietly, "If you place me tight to your heart I'll grant you a wish." Trembling she pressed the talking, magical star to her wildly beating heart, thought carefully and hoping beyond hope wished for a dog.



Instantly the most beautiful dalmation she could imagine appeared at her side. Overjoyed and excited she flung the star out into the ocean sky only to see her companion run bounding after it. Just as the star disappeared into the Milky Way the gorgeous black and white spotted dog leapt, caught it and pranced proudly back to the moon.



She laughed pulling the slobber covered star from between powerful though gentle clenched teeth. Suddenly an icy chill crept up her back. Turning she saw behind her a most fearful alien. Panic gripped her. Before she could cry out the dalmation growled and charged at the alien who had no choice but to disappear into the night sky.



The girl boarded a space shuttle and as she headed back to earth thought we might all be safe if we all only had a moon dog like her.



- See: Writings



:: note :: ... this story was imagined by a student during a partner exercise in drama class ... it was retold & moved by its pure simplicity and beauty have freely adapted it here ... apologies to Annie & photo by r.trepanier ...

Tuesday, April 17, 2007

Chairorist

Officials give river art icy reception


Jordan Jackle
The StarPhoenix

Saturday, January 27, 2007


The fire department's water rescue team spent Friday morning retrieving wooden chairs from a frozen portion of the river in the River Landing area.After finding out about the chairs from concerned Saskatoon residents, surface divers used a boat and a rope to crawl onto the ice and remove them.

"We found out they were placed there by the Mendel (Art Gallery). It was form of art," said assistant fire Chief Bob Fawcett.

It wasn't done by the Mendel Art Gallery, said spokesperson Betsy Rosenwald, but rather an artist with an installation at the gallery. Local artist Michael Hosaluk has an exhibition titled Containment that involves many chairs, she said.

"He and some of his cohorts undertook what they call "chairorrist actions" and placed, as part of the exhibition, chairs around Saskatoon," Rosenwald said. "He does consider it part of his exhibition, but we did not authorize the placement of chairs on the river."

The act of "chairorrism" was actually executed by Hosaluk's friend and fellow artist, Doug Taylor, whose phallic snow sculpture made headlines this week. Taylor canoed to the spot and placed four of Hosaluk's chairs where crews later picked them up. He was not surprised the chairs were removed.

"Anyone just has to suggest a danger and they'll spring into action. It's typical, but absolutely unnecessary. It wasn't meant as a lure to get people out there," he said.
Hosaluk said part of the reason for the outdoor display was to draw attention to the lack of space at the Mendel. This was one way to focus on that deficit and the importance of the arts in the community, he said.

"We've had some incidents in the past and we just felt it was sending the wrong message by placing those chairs out there, whether they're an art display or not," said Fawcett.
Expressing her own personal opinion, Rosenwald said she is not sure why the act would be looked upon negatively.

"It's the artist's own extension of his exhibition. It's a creative use of space," she said.
Even if someone were to walk near the chairs, they wouldn't have went through the ice, said Taylor, noting the ice was 10 centimetres thick.

Fawcett said although it was relatively solid in that area, ice is dangerous at this time of year.
"Our advice to all citizens is stay away from the river and stay off the ice," he said.


jjackle@sp.canwest.com

© The StarPhoenix (Saskatoon) 2007

Monday, April 16, 2007

Actor Manifesto

Manifesto of the Perfect Art Form

Today's theater is in crisis. It has lost significance. To imagine a full powerful theater it must bring faith to humanity. We must rediscover a new language-on-theater. The new language-on-theater is not a parasite living on what society has built for Darwinian survival. It is a theater to reawaken our numbed sensibility by retracing the organicity on how to be human.

The new language-on-theater is an action and voice in rhythm. First of all, we must destroy the text crafted by the playwright that leaves room for only interpretation or the debatable logic of intellect. Theater is not possibly understood through studies of aesthetics or accomplished by persuading the actor into action.

Logical rational argument or reading of the text cannot create a theater. Theater must be composed of an intuitive re-action. Destroying the text, we destroy our enslavement to the text and text as a trap.

Non-scripted text is then chosen. The text must be a means for the actor to work on vibration in sound. The sound must vibrate in the actor's interior body, in the space and in the audience. All are apart of the vibrating zone.

Speech in rhythm carries a life force, resonates from the actor's body and mind, and reaches out to the space. Moving through the intellect logic of word meanings to break the language and create new senses and symbols by means of vocal vibration space is the guiding principle of the new theater.

This is the language that touches and activates the listener's heart and ear directly. Vocal vibration is almost a gentle attack. It is a way the actor shapes and shifts space through resonance without hesitation and fear. It is a search for a spatial language, for speech in rhythm that is musical and melodic called singing-ness.

The new language-on-theater is also a way of finding an action in rhythm. Word theatre has directed actors towards being not act-ors but word-ors. Thus creating a malformed body - almost a mummy. The actor must be a master of her own body to know her limit and to challenge the limits. The actor's physicality is to awaken both the internally and externally senses of the body which will awaken the whole intellect. It begins when the actor achieves an active state of vulnerability. No fear to expose herself to the space.

The actor's movement must come from the spine, the lower spine that controls the vertical praxis of the body. The movement must gain the property of returning to an initial form or a state following the deformation. Elasticity will return and must be capable of undergoing the continuous deformation without rupture or relaxation and a new plasticity will result. Within the new movement gained through elasticity and plasticity the actor must be a good friend of gravity and know how to play with it.

The action in rhythm is to know how to express the inner emotion and psyche externally. Not a reproducing of stereotypical gestures but a rigorous study of impulse, gesture, activity and movement in order to transform those into physical actions.

The understanding of the physical action is crucial because it is a vessel for the emotion, feeling or heart. A vessel for the emotion not a squeezing out, but rather, it is a stream of life visualized within a rhythm. When the actor rides on the stream of the physical acting score, the depth of emotion is present because of what the rhythm carries with it.

Jerzy Grotowski has shown that theater is not a representation of life any more but becomes "real." Theater is life. We must reject the mimics of life on theater. Actor's work can be recalling a memory of the past (such as Stanislavski's "as if"). However, it is by not representing the past today, which is inevitably a lie because there is no way to reproduce the exact same feeling of what we felt in the past. Rather, the actor creates a physical acting score that contains feelings about what has happened in the past now. In another words, the actor listens to the inner voice of the memory of the past and how it acts on her now, at present, while locating herself within the physical acting score as precisely as possible. An actor's action in rhythm vibrates in the space musically which is in dancing-ness. It is a search for a spatial movement.

An action and voice in rhythm is not about the action and voice itself but its vibration in the space because of what rhythm carries. Julia Kristeva's analysis on rhythm as rhyme points the actor to form plus theme equals content. Rhythm is intangible but precisely because of this, it is very concrete and strong and not easily broken. To gain virtuosity of action and voice in rhythm the actor must practice. There are no hidden secret or magical talents. In this respect, an action and voice in rhythm is about time. The actor develops an ability to unfold time in space.

It is a way that we can find our new way of language on theater. Not mimicry of life but the actor creates a resonance and response in space at the moment. It is a concrete development of dancing-ness and singing-ness. Dancing-ness is elasticity in physicality. Singing-ness is an elasticity of vocal vibration. Both are extensions of energy.

An actor rides on the rhythm, moves and sounds organically (even sensually) becomes very present. Because it is about work of time, it is not only a condition of now and here but also carries history in a sense that an actor leads history rather than chasing history. It is the moment where the actor's work links to tradition. The accumulated time becomes a palpitating rhythm of movement and sound. It is not a mimic of life as a representation but an on-going life within the new sensibilities which awaken history yet precede it.

The new language-on-theater which is action and voice in rhythm is an actor's work springing from the limit of being human. The very recognition of the limit challenges the actor to move beyond herself transcending. The actor feels free only when she is in theater working. The actor sublimates her pain into a sacred ritual only when she is in theater working. The actor knows herself fully only when she is in theater working. The actor accepts the world and enters a generous full-hearted state only when she is in theater working.

This act of theater finally recovers the faith in humanity and earns the respect in human dignity. The new language-on-theater is never a fixed result but is constantly in-process. Only then, theater becomes not an escape from life but a revolutionary revelation.

Ae Ran Jeong (written for Failure in Performance class / New York / September 16, 2005)

Imagining

"So what is the process for exercising and stretching the imagination so that that capacity returns?"(Dave Pollard | How to Save the World | The Process of Imagining)


- See: Terms

:: note :: ... an incredibly practical guide ...

Saturday, April 14, 2007

Actor Manifesto

Manifesto of the Perfect Art Form

Today's theater is in crisis. It has lost significance. To imagine a full powerful theater it must bring faith to humanity. We must rediscover a new language-on-theater. The new language-on-theater is not a parasite living on what society has built for Darwinian survival. It is a theater to reawaken our numbed sensibility by retracing the organicity on how to be human.

The new language-on-theater is an action and voice in rhythm. First of all, we must destroy the text crafted by the playwright that leaves room for only interpretation or the debatable logic of intellect. Theater is not possibly understood through studies of aesthetics or accomplished by persuading the actor into action.

Logical rational argument or reading of the text cannot create a theater. Theater must be composed of an intuitive re-action. Destroying the text, we destroy our enslavement to the text and text as a trap.

Non-scripted text is then chosen. The text must be a means for the actor to work on vibration in sound. The sound must vibrate in the actor's interior body, in the space and in the audience. All are apart of the vibrating zone.

Speech in rhythm carries a life force, resonates from the actor's body and mind, and reaches out to the space. Moving through the intellect logic of word meanings to break the language and create new senses and symbols by means of vocal vibration space is the guiding principle of the new theater.

This is the language that touches and activates the listener's heart and ear directly. Vocal vibration is almost a gentle attack. It is a way the actor shapes and shifts space through resonance without hesitation and fear. It is a search for a spatial language, for speech in rhythm that is musical and melodic called singing-ness.

The new language-on-theater is also a way of finding an action in rhythm.
Word theatre has directed actors towards being not act-ors but word-ors. Thus creating a malformed body - almost a mummy. The actor must be a master of her own body to know her limit and to challenge the limits. The actor's physicality is to awaken both the internally and externally senses of the body which will awaken the whole intellect. It begins when the actor achieves an active state of vulnerability. No fear to expose herself to the space.

The actor's movement must come from the spine, the lower spine that controls the vertical praxis of the body. The movement must gain the property of returning to an initial form or a state following the deformation. Elasticity will return and must be capable of undergoing the continuous deformation without rupture or relaxation and a new plasticity will result. Within the new movement gained through elasticity and plasticity the actor must be a good friend of gravity and know how to play with it.

The action in rhythm is to know how to express the inner emotion and psyche externally. Not a reproducing of stereotypical gestures but a rigorous study of impulse, gesture, activity and movement in order to transform those into physical actions.

The understanding of the physical action is crucial because it is a vessel for the emotion, feeling or heart. A vessel for the emotion not a squeezing out, but rather, it is a stream of life visualized within a rhythm. When the actor rides on the stream of the physical acting score, the depth of emotion is present because of what the rhythm carries with it.

Jerzy Grotowski has shown that theater is not a representation of life any more but becomes "real." Theater is life. We must reject the mimics of life on theater. Actor's work can be recalling a memory of the past (such as Stanislavski's "as if"). However, it is by not representing the past today, which is inevitably a lie because there is no way to reproduce the exact same feeling of what we felt in the past. Rather, the actor creates a physical acting score that contains feelings about what has happened in the past now. In another words, the actor listens to the inner voice of the memory of the past and how it acts on her now, at present, while locating herself within the physical acting score as precisely as possible. An actor's action in rhythm vibrates in the space musically which is in dancing-ness. It is a search for a spatial movement.

An action and voice in rhythm is not about the action and voice itself but its vibration in the space because of what rhythm carries. Julia Kristeva's analysis on rhythm as rhyme points the actor to form plus theme equals content. Rhythm is intangible but precisely because of this, it is very concrete and strong and not easily broken. To gain virtuosity of action and voice in rhythm the actor must practice. There are no hidden secret or magical talents. In this respect, an action and voice in rhythm is about time. The actor develops an ability to unfold time in space.

It is a way that we can find our new way of language on theater. Not mimicry of life but the actor creates a resonance and response in space at the moment. It is a concrete development of dancing-ness and singing-ness. Dancing-ness is elasticity in physicality. Singing-ness is an elasticity of vocal vibration. Both are extensions of energy.

An actor rides on the rhythm, moves and sounds organically (even sensually) becomes very present. Because it is about work of time, it is not only a condition of now and here but also carries history in a sense that an actor leads history rather than chasing history. It is the moment where the actor's work links to tradition. The accumulated time becomes a palpitating rhythm of movement and sound. It is not a mimic of life as a representation but an on-going life within the new sensibilities which awaken history yet precede it.

The new language-on-theater which is action and voice in rhythm is an actor's work springing from the limit of being human. The very recognition of the limit challenges the actor to move beyond herself transcending. The actor feels free only when she is in theater working. The actor sublimates her pain into a sacred ritual only when she is in theater working. The actor knows herself fully only when she is in theater working. The actor accepts the world and enters a generous full-hearted state only when she is in theater working.

This act of theater finally recovers the faith in humanity and earns the respect in human dignity. The new language-on-theater is never a fixed result but is constantly in-process. Only then, theater becomes not an escape from life but a revolutionary revelation.

- See: Terms

:: note :: ...written in 2005 by a former student this manifesto rings out ...

Friday, April 13, 2007

Vonnegut

"We all feel that we talked with Kurt, don't we? Which isn't very possible, but it is as necessary as peace."(AlterNet | Reverend Billy |Reflections on Kurt Vonnegut, a Man of Funny Fearlessness)


"He believed, after all, that literature could play the role of the canary in the coal mine, warning against the suffocation of values. It was the function of literature to be "a slow-acting poison". He had himself been infected by the socialist writers of the 1930s. Now he, in turn, wished to "infect young people with humanity"."(openDemocracy |Christopher Bigsby |Kurt Vonnegut : a voice for life)


- See: Memorium

:: note :: ... been infected since the late '60's ... this poison makes in his own words: "Death is not an acceptable side effect." ... Vonnegut took me on the pilgrimage towards being unstuck in time ... a brilliant critical thinker ...

Thursday, April 12, 2007

Chairorists

A picture named Riverchairs.jpg


Chairs on Ice, January 25, by John Penner


Not long ago it became known that an artist was fined for leaving chairs on the ice across from the so-called new River Landing development. The self taught wood turner stated this act of "chairorism" was executed by a fellow artist and friend, infamous for his own phallic snow sculpture of a mushroom with a bulbous stem, who canoed to the spot and placed, as an unauthorized part of the Containment Exhibition, four maple chairs on the ice hoping to attract attention to the lack of space at the local Art Gallery and focus awarness of the arts in the community. It was also known this community prided itself as a cultural capital.

The Gallery's founder a local meat packer businessman, internationally known as The Ham Man, who built the single largest pork processing plant in the country which specialized in the killing, cutting and value-added processing of hogs and had selected this stunning location alongside the river for a building distinguished primarily by the elimination of ornament and simplification of form, now scowled from his grave.

Channelling through the present Gallery spokesperson he expressed the opinion it was a creative use of space. After all didn't Her Majesty Queen Elizabeth II possess one of the artists' pieces in her permanent collection at Buckingham Palace.

Members of the Saskatoon Fire and Protective Services river rescue team retrieve some chairs left by a local artist on the ice across from the new River Landing development FridayPhotograph by : Greg Pender, The StarPhoenix .jpg

Fear of offending royalty he allowed children and adults able to be childlike to play with specific chairs in the main gallery. He even invited renowned English (though living in the community and of Romanian descent) theatre and film actor, as well as director and writer to perform Climbing Chairs: Chairorist Monologues.

All this approved activity he hoped would divert municipal councillors away from chairorist actions including the now removed chair glued to a tree by City Hall. He wasn't sure the seven-member jury appointed by city council to determine, on the basis of quality and appropriateness, what art projects would be allowed in open spaces, in civic facilities and on city-owned property would be placated.

The busy valley pathways would be safe from gifts of beauty randomly placed without permission. The only exception was the two-storey chair tower at the doors of the gallery considered to be gallery property (sort of).

Exhausted the Ham Man tucked away his honorary Doctor of Laws degree and returned to the pale subways of his underground existence. Occasionally he visits the suface attempting to scale chair trees to reach the moon. He understands the moon to be a hole at the top of the sky through which he may escape. Failing he falls back harbouring a secret, valuable treasure resting content to have created a place of such character and personality, even if a controversial one, that all citizens could take pride in.

The assistant Fire chief advised all citizens to stay away from the river and stay off the ice.

- See: Writings

:: note :: ... apologies to Thomas Bernhard/The Voice Imitator/998 Times ...

Wednesday, April 11, 2007

Soul Work Grass Tomb

A picture named soulwork07

- See: Theater

:: note :: ... reflections on a work ... a work that may be called SleepWork ... entering something from the sleep side ... an incognito glimpse ... unrecognized, hidden, unknown because we judge something of worth is hidden ... SleepWork is hopeful ... SleepWork premises "to awake to a reality more real than the waking world" (Anne Carson | Decreation| 22) ...

Thursday, April 05, 2007

Play Pose

A picture named playPose.JPG

- See: Theater

:: note :: ... students create Tableaux of moment in "Run" ... explored FASD & more ...

Tuesday, April 03, 2007

dream death



she dreamed

... returning to my homeland for a visit found myself in a strange neighbourhood ... third sister had recently moved to a new area ... she had called giving directions and requested my immediate arrival ... despite repeated calls and detailed instructions the house could not be found ...

... each call added more and more urgency till finally I demanded if I was so close then why wouldn't she simply come out to get me ... further angering me with her hesitancy she continued to talk ... the background noise made listening impossible ... she was occupied with something else while talking and couldn't be understood ...

... angered I pleaded for her to come get me ... she hung up and moments later was standing at a gate motioning me to come ... looking directly & sternly into my eyes through clenched teeth ... "I was trying to tell you - Mother is Dead!" ... peppering her with questions dazed and in shock followed her inside ... "What? Are you sure? I just talked to her last month. She was fine" ...

... no one knew much ... the whole family lived apart from mother who lived in a small village some distance away ... the phone kept ringing ... sister answered calmly if not somewhat emotionless ... it was elder sister inquiring about the last gift mother had sent ... "Yes the sesame seeds were organic" I overheard sister's reply ... "They should be safe to eat." ...

... they were talking about sesame seeds and mother was dead ... this was unbelievable ... were they all heartless ... turning quietly sister spoke ... "My daughter is also dead" ... gasping ... No! No! No! How can it be? ... "She has not returned home from school for two days now" ... raging out of the house ... tears streaming down my face ... shrieking out her name I ran through the neighbourhood ...

... a man in black followed ... he was selling insurance ... "See death can come at any moment - do you have life insurance?" ... "Leave me alone!" ... desperately questioning all in the street one man described "Yes he had seen the child walking home from school." ... had offered some candy ... the child replied her mother warned never talk to strangers and especially never accept gifts ... she ran off ... "You bastard! Because of you she is lost! You made her panic! You made her lose her way!" ...

... meeting others they assured they had seen the child running along the streets ... this was not the way home she must be alive and lost ... I tore through the streets searching every dark and deserted corner ... rummaging through every garbage bin ... hair matted from sweat ... face filthy from tears and dirt ... screaming her name attacking all passers by desperately seeking any information ...

... my only solace was "Yes most had seen her running" ... darkness fell ... with huge resignation decided to return home ... where was it ... though now recognizing the familiar roofs of the neighbourhood approached each gate with certainty that this was home ... found myself lost ... lost ... lost ...

she awoke.

- See: Dreams

Monday, April 02, 2007

Theater @ Buffalo Lodge

A picture named atPlay.JPG

- See: Theater

:: note :: ... took high school drama classes to "Run"... a Nutana Collegiate's Drama production written and directed by Tom Simes a home schooling dad and high school teacher ... an exploration on F.A.S.D.... a wonderfully human 'message' play full of rich emotions & committed playing ... congrats to Nutana class... hosted by White Buffalo Youth Lodge ...