Thursday, 29 December 2011

"blind, deaf, mute,somnabulistic,memoryless" (zombiefication continued)

I am quoting from Borges, "Funes, the Memorious". After falling from the horse Funes started remembering everything he perceived and every single time he perceived things. It was difficult for him to sleep and think in general ideas, as both is to abstract from the world and abstract from the difference. Before the accident he was in a normal state of being in the world, suggested by the title. For the dance project I am calling it a zombiefied state and will try to thwart the viewer's habit of abstraction from what is going on by splitting the perception planes and reversing them. The act of hearing is going to be presented visually without any access to what is actually heard inside the dancers' ears.Music should be played at low volumes - it is possible to hear the sounds generated inside in a quiet place, which is not going to be the case there, but conceptually possible and empirically proved. The idea of real individual additional ghost tones has to be idiomatic in the performance to encourage listening in search and recollection of perceptions linked to the place of action without trying to generalize- it is not the kind of music,dance,video,scenery you think it is (one thing is presented as something else, if dance is a language you have to understand, there it is going to be from the wrong book, and if you fall into a trap of figuring out, it will only make things worse..)

Tuesday, 6 December 2011

zombification ( ballet project, part 2)

To develop the idea with zombie-like creatures walking on high heels to my track "Baronin von Schmerz" and notions of sensitivity and numbness, I would like to start with a quote from Resa Negarestani, whose philosophy of the weird as the horror of something under mobilisation of nothing elaborates on a condition of survival or remaing less as a result of subtraction, which is that of a zombie.

" the lexicon of the videogame, the horror is neither the anticipation of the 'boss' at the end of the game, nor of his absence; nor is it the supernatural, or the growing hords of undead armies, nor the uncanny ambience, it is the very definition of survival that is pregnant with the problematic from the beginning." (From The Horror of Something).

It is not a denial of life, but life infected with death, which removes the border between the two- something Russian underground artists of the 80s-90s in the movement called necro-realism were trying to do. Here is a ballet I would like to keep in mind while working on choreography.

Survival under difficult conditions may paralyze the will and block away sensitivity to pain -what if every single person were a surviver in a world of lost connections, conformed perceptions and pre-packaged responses?