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Archive for January, 2010

John Cage’s  “4’33”

—– Situated silence,  Expectation V.s Surprise,  Nothingness.

It is a famous piece in both musical performance and Dada art.  Many people may think that they can create  exactly the same “silence” at home,  so why a big fuzz?  What is the difference?

The silence is performed in a luxurious theater where the symphony orchestra is well prepared to play the music, and the audience pays the ticket to get there.

Everyone is ready and expecting,  attention and concentration are excessively accumulated.
Then the silence is performed:  on one  has ever been so aware of  the absence  any sounds , nor has s/he experienced  the passing of time so absolutely.

Man On Wire

——- performance for performance’s Sake?

With this great documentary by Jame Marsh,  we can approach Philippe Petit’s 1974 high-wire walk between the Twin Towers of New York. The action is never less breathtaking even though it happened 3 decades ago.

By the act of just watching  him on the wire, the audience is inevitably taken to the place of the performer, as if the audience is the one who is walking on the wire.  Thrilled,  shocked,  excited,  amused, or been thrown into a sense of ecstasy , whatever s/he feels,  it is for sure that  there will be tons of questions hunting his/her head after the  performance  finishes :

“Why the he did that?  How did he prepare for it? What are the impacts of his extremely dangerous yet extremely spectacular action for the society as a whole, who was watching him all the way? What is the position of the documentary toward his performance……”

Kaleidoscope

by Lyla Rye (Lyla is an installation artist who lives and works in Toronto, Canada)



(For better quality and more other video, please go to her website:http://www.lylarye.com/KaleidoscopeVIDEO.html
)

I am not sure if this piece is in the category of Performance or Video art, in which the raw material is the baby’s performance but it is heavily manipulated by video editing.

With a deadly black background, there is the playing of the ever-changing vivid colors,  the intriguing organic shapes, the growing of a human-like baby figure. The duplicated  “twins” are lively dancing, crawling, playing, “swimming”—-they unite, split apart, unite… In a second, the twins look like ghost or monster, but in another, they are almost divinely  glowing. The sound is almost mystical and “organic”.

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