Okay, so one idea we came up with was this idea of recording the synonyms of love to try and show the absurdity of defining love. with these synonyms we may make a video to try to depict each one but haven't fully decided what we'd do yet.
i had an idea that instead of getting random synonyms, it might be quite nice to track the path of synonyms. for example, what i mean by this, is we'd love at the synonyms of love first. we'd chose one of these and then look at the synonyms for that word. then we'd elect one of these and so one. this gives us a pathway from love to x.
here is an example to display what i mean using http://thesaurus.com/browse/love as a starting point
1. Love -> Fondness -> Tenderness -> Sympathy -> Agreement -> Bargaining -> Trade -> Contract -> Engagement
This is just one example of choosing synonyms at random, however in the future we could write down all the possible suggestions and let chance decide which one we elect.
Monday, 28 November 2011
Threesome
We went to a few performances for this years SACRED held at Chelsea Theatre. On Thursday 24th November we saw three performances and here is a little bit about what we thought of each piece.
Martin O’Brien Mucus Factory:
This was an endurance piece which ran throughout the course of the evening, including when the spectators where in the main theatre watching one of the other pieces.
The studio space was made up of a small trampoline, a padded surgeon table and a raised platform at the back. The piece had two clear sections; a) the bouncing on the trampoline and the slapping technique performed whilst laying down which was used to clear the airways and encourage the flow of mucus, and b) the use of the mucus for purposes of vanity - styling hair and lubricating medical instruments for anus insertion. and these sections were completed in a cycle throughout the course of the evening.
what we found particularly compelling was the mirror which Martin performed beside. It stretched the length of one side wall, and every action was visible in the reflection of the mirror. this created a distancing effect as the entire piece could be watched in the reflection.
also the natural soundtrack created by the piece was compelling but to some extent painful to witness. it was made from the sounds of slapping and coughing and displayed a very visceral accompaniment to process of the performance. Also as the endurance piece wore on heavy breathing became part of the soundtrack and Martin grew in fatigue.
After clearing the airways and collecting the mucus, Martin used the collected mucus as a tool for vanity, displaying how the internal can become externalised. the mucus was collected and then used, in one sense, for pleasure. For example, the beautifying of appearance (styling hair and sticking glitter to his chest) as well as sexual pleasure using it as a lubricant.
however, in the post show discussion, Martin dismissed the idea of pleasure, saying that the despite the glitter being used as an appearance enhancer, it also became a painful addition, as when the piece wore on the glitter would get everywhere and when inserting the medical instrument into his anus, the glitter began to cut his skin.
Gillie Kleiman Ophelia is not Dead:
Joseph Mercier Giselle, or I’m too Horny to be a Prince:
The programme for the entire scared event can be found at this link
http://www.chelseatheatre.org.uk/data/downloads/SACRED%20Keeping%20the%20Faith%20Programme%20low%20res.pdf
Martin O’Brien Mucus Factory:
This was an endurance piece which ran throughout the course of the evening, including when the spectators where in the main theatre watching one of the other pieces.
The studio space was made up of a small trampoline, a padded surgeon table and a raised platform at the back. The piece had two clear sections; a) the bouncing on the trampoline and the slapping technique performed whilst laying down which was used to clear the airways and encourage the flow of mucus, and b) the use of the mucus for purposes of vanity - styling hair and lubricating medical instruments for anus insertion. and these sections were completed in a cycle throughout the course of the evening.
what we found particularly compelling was the mirror which Martin performed beside. It stretched the length of one side wall, and every action was visible in the reflection of the mirror. this created a distancing effect as the entire piece could be watched in the reflection.
also the natural soundtrack created by the piece was compelling but to some extent painful to witness. it was made from the sounds of slapping and coughing and displayed a very visceral accompaniment to process of the performance. Also as the endurance piece wore on heavy breathing became part of the soundtrack and Martin grew in fatigue.
After clearing the airways and collecting the mucus, Martin used the collected mucus as a tool for vanity, displaying how the internal can become externalised. the mucus was collected and then used, in one sense, for pleasure. For example, the beautifying of appearance (styling hair and sticking glitter to his chest) as well as sexual pleasure using it as a lubricant.
however, in the post show discussion, Martin dismissed the idea of pleasure, saying that the despite the glitter being used as an appearance enhancer, it also became a painful addition, as when the piece wore on the glitter would get everywhere and when inserting the medical instrument into his anus, the glitter began to cut his skin.
Gillie Kleiman Ophelia is not Dead:
Joseph Mercier Giselle, or I’m too Horny to be a Prince:
The programme for the entire scared event can be found at this link
http://www.chelseatheatre.org.uk/data/downloads/SACRED%20Keeping%20the%20Faith%20Programme%20low%20res.pdf
Sunday, 27 November 2011
TASK#3 extension idea
i have a friend, she is a synesthetes, as another idea for an 'expert' to interview in our idea #2 we may interview her. she was telling me about how there are some songs that she love in relation to their audio existence, however she cannot bring herself to listen to them due to the colour that they are. i asked her whether she could fall in love with a man (or woman) who concocted a nasty colour each time they spoke. she said she didn't know what she would do, but that it would be a very horrible situation. most people are yellow to her, and that is okay apparently. i would like to speak to this girl for research into the subject of the absurdity of love. if you have any questions you feel may be useful to ask, please post them in the comments section.
celi-butt
in relation to the week of celibacy: you see, what it is forcing me to do is constantly address what was before a subconscious impulse; instead of leaning down and kissing you or taking your hand inside mine, i now have to merely register that that is what i want to do but exactly what i cannot do. instead i must retract, changing the nature of this impulsive habit into a thought slash action process of dealing with and avoiding these desires. it makes me feel less like you're my girlfriend, more like the beginnings to that stage of taboo we went through eighteen months back; where we want to act on our feeling but know that we cannot (we weren't so good at that). except now it is different because today i have experienced around twelve months of constantly fulfilling these desires, at least when in your company. back then i guess i couldn't fully comprehend what i was missing. and although it pained my crotch to say no, for a while at least, i managed it. but now i have begun expecting these physical relations, they have become second nature. and in this i don't want to seem like they've become force of habit, or just something to be expected, almost endured, that isn't what i mean at all. i crave them constantly. i fuck you at night, sleep beside you and dream about fucking you then wake up and if we have time we fuck again. it hasn't become natural in the sense of being predictable, it's become natural in the sense of we both want it both so much (in amount) and so much (in regularity) that's it's just obvious that it's going to happen. but now it can't. only for a short while, but this short while is still far too long; all of a sudden, those luxuries, which were once so regular now cannot exist.
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