Author: wasswasswass

Posted on

Hell

Hell

Hell or H E double hockey sticks, the place where the devil lives. The red hot stinky place where the bad people go. Dante had different layers of it for different degrees of evil.

But I am not here to talk about evil, brimstone, or Billy Crystal as the Devil in a Woody Allen film.

I am here to talk about the word hell.

In English, it means the bad place.

In German, it means light, bright, clear or pale.

Hellblau is light blue. Ein heller Morgen… a bright morning…

Mir wird mein helles Haar zur Last –Rilke (my pale hair becomes a burden to me)

In English hell is the bad place and in German hell is light. Hölle is the German word for the bad place.

Who lives in hell? Satan, the devil, also known as Lucifer.

Isaiah 14:12 – “How art thou fallen from heaven, O Lucifer, son of the morning!” (and what is also associated with morning?!? – Lightness, brightness)

2 Corinthians 11:14 – “… for Satan himself is transformed into an angel of light.”

So we have

Hell = Light

Hölle = Hell

Draw your own conclusions

Posted on

Two definitions of Contemporary

Aphorism 3

Contemporary – adopting an ever-shifting set of values so as to elude any sort of qualitative criteria. Contemporary – adopting a differing set of values so as to problematize the normative set of qualitative criteria

Posted on

Jam ~ Performance

A Jam is a situation in which all participants have equal access to movement, location, and observation.

A Performance is a situation in which participants have unequal access to movement, location, and observation.

Posted on

Contemporary Contact Improvisation…or achieving the full potential

If, as some have stated contemporary dance is about the search for and exploration of potential, then contact improvisation in its nigh-omnipresent hetero-normative iterations is not contemporary as the hetero-normativity represents merely a third of the potential permutations of the duet based on biological sex.

Extending this thought to the duet in relation to number, the normativity of the duet in relation to the physical practice of the form is also a limitation of potential.  A dancer of CI, in order to make use of the full potential of the form, should be able to dance with anyone in the place of practice and not be limited to one person.

In order to achieve the full potential of the form, and thus bring CI into back into contemporality, practitioners of the form must move beyond the hegemony of the hetero-normative duet.

Posted on

Tanznacht Berlin 2014 – a simple financial analysis

at 1.43 minute per €  „KELLERKINDER“ byTanzzeit Jugendcompany Evoke & Kadir Amigo Memis was the most expensive performance of Tanznacht Berlin.

at 10 minutes per € KRUMP „N“BREAK RELEASE“ by Shifts-Art in Movement was the best deal of Tanznacht Berlin.

(note: this does not take into account the reduced rate for tickets.  Maybe I should go back to school or get the Tanzcard)

Artist &Performance Cost in € Length in minutes minutes per €
JUAN GABRIEL HARCHA – „ANGELA LOIJ“ + „TULLE LABYRINTH“ 14 45 3.214285714
DRAGANA BULUT -“WHERE IS THE ZOMBIE?” EPISODE 2 14 70 5
SIEGMAR ZACHARIAS & ALICE CHAUCHAT “INVASIVE HOSPITALITY #4 9 60 6.666666667
TANZZEIT JUGENDCOMPANY EVOKE & KADIR AMIGO MEMIS „KELLERKINDER“ 14 20 1.428571429
SHIFTS – ART IN MOVEMENT / DAVID BRANDSTÄTTER/MALGVEN GERBES „KRUMP „N“BREAK RELEASE“ 5 50 10
NIELS `STORM’ ROBITZKY, RAPHAEL HILLEBRAND, LOUISE WAGNER  ”DIALOGIC MOVEMENT – FORUM FÜR ZEITGENÖSSISCHEN URBANEN TANZ” 14 90 6.428571429
EVA MEYER-KELLER & SYBILLE MÜLLER “KATASTROPHENKOMPOSITIONEN” 9 30 3.333333333
KENJI OUELLET „LE SACRE DU PRINTEMPS – A HAPTIC RITE“ 9 15 1.666666667
RICARDO DE PAULA „SHOOT FIRST“ 9 25 2.777777778
DEWEY DELL “CINQUANTA URLANTI QUARANTA RUGGENTI SESSANTA STRIDENTI” 5 10 2
MARTIN HANSEN “MONUMENTAL” 9 40 4.444444444
KAT VALASTUR “GLAND” – THE MARGINAL SCULPTURES OF NEWTOPIA (DIMENSION A & B 14 60 4.285714286
SHIFTS – ART IN MOVEMENT/DAVID BRANDSTÄTTER & MALGVEN GERBES „FESTINA LENTE – MAKE HASTE SLOWLY“ 14 60 4.285714286
BEGÜM ERCIYAS „HYPNOSIS“ 14 70 5
CHRISTOPH WINKLER „DAS WAHRE GESICHT – DANCE IS NOT ENOUGH“ 14 70 5
TIAN ROTTEVEEL „HARDCORE“ 9 30 3.333333333
FRÉDÉRIC GIES „SEVEN THIRTY IN TIGHTS“ 14 70 5
SERGIU MATIS „FAKE – THE REAL DEAL“ 14 120 8.571428571
ANGELA SCHUBOT & JARED GRADINGER “SOON YOU ARE THEIRS” 9 25 2.777777778
ALEXANDRE ACHOUR „THIS ISN´T GONNA END WELL“ 14 70 5
JOCHEN ROLLER & MONICA ANTEZANA „DER CARPENTER-EFFEKT“ 14 65 4.642857143
Averages 11.47619048 52.14285714 4.517006803
Mode or most common value 14 70 5
Posted on

Creative

 

 

 

 

c r e a t i v e r e a c t i o n c r e a t e d r e a c t i n g

r e a c t i v e c r e a t i o n r e a c t e d c r e a t i n g

 

 

 

 

 

 

 

Posted on

Contemporizing JFK

And so, uh, my fellow Americans: like, ask not what your country can do, um, for you—ask what you can do for, for, for your country. My fellow citizens of the world: ask not what America, like, you know, will do for you, but what together we can do, uh, for the freedom of man, you know what I mean. Finally, like, like, whether you are citizens of, you know, America or, like, citizens of the world, ask, um, of us the same high standards of, uh, um, you know, strength and sacrifice which we ask of you, yeah. So, with a good conscience our only sure reward, you know, with history the final judge of our, uh, deeds, let us, like, go forth to lead the land we love, you know, asking, uh, His blessing and, um, His help, but, like, knowing that here on earth, like, you know, God’s work must truly be our own.