… on the beach

He goes to find a sun lounger.

“Can I have one that’s more pretentious?” Tomas asks an attendant.

“Of course, Sir, but only on condition that you make yourself ridiculous.”

— James Palumbo, Tomas, Quartet Books, London, 2009.

 

pique-assiettes

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Empty Life – Vandana Shiva on the plunder blunder

It seems that the Western powers are still driven by the colonizing impulse to discover, conquer, own, and possess everything, every society, every culture. The colonies have now been extended to the interior spaces, the “genetic codes” of life-forms from microbes and plants to animals, including humans.

John Moore, a cancer patient, had his cell lines patented by his own doctor. In 1996, Myriad Pharmaceuticals, a U.S.-based company, patented the breast cancer gene in women in order to get a monopoly on diagnostics and testing. The cell lines of the Hagahai of Papua New Guinea and the Guami of Panama are patented by the U.S. commerce secretary.

The natural development and exchange of knowledge has, in effect, been criminalized by the Economic Espionage Act of 1996, which became U.S. law on September 17 and empowers U.S. intelligence agencies to investigate the ordinary activities of people worldwide. The act considers the intellectual property rights of U.S. corporations as vital to national security.

The assumption of empty lands, terra nullius, is now being expanded to “empty life”: seeds and medicinal plants.

– Vandana Shiva, Biopiracy: The Plunder of Nature & Knowledge, 1999

pique-assiettes

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mellow waves

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a subjective position is a way out

A world is only constituted on condition of being inhabited by an umbilical point of deconstruction, of detotalization, of deterritorialization, starting from which a taking of subjective position is incarnated.

– Guattari, The Schizo Chaosmosis (1991), in The Guattari Effect, 2011, p. 19

…do you see what you’ve been missing? Your act of world-making is not a reductive totalisation. Your positing of self is not projection. Your viewpoint doesn’t stretch from your mouth like a strand of bubblegum, that wraps the world up, around which you construct a bubble, in which, at the centre of which, you have no choice but to be mirrorstruck. You do not go around the world’s block peeing on lampposts to bring it into line with a kind of ownership, however illusory. Your world is not your beat. But your beat is the recurring fold of a subject-making.

Your world is not a speech bubble, a form floating from off of your lips at its pointiest end, where it arrows into your head. You do not blow and make it rise. It is not suspended by your effort, by your desiring production, even by your wish-fulfilment. It is not self-gratifying. But it leads you on a dance.

You dance out of your own omphalos. At the umbilical point, you are the world’s bubble, its speech-bubble. It doesn’t know what it is going to say, until you say it. It is already moving away from its own control, and it is already out of yours.

It undoes itself in your hands, in your eyes, in your mouth. It is a placenta auto-evacuating… you are born from it.

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imarginaleiro
pique-assiettes
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MINUS THEATRE RESEARCH GROUP PRESENTS

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hommangerie
imarginaleiro
immedia
inanimadvertisement
infemmarie
luz es tiempo
theatricality
theatrum philosophicum
thigein & conatus

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postexegetical thetic palavers amok: on names, or, towards Minus’s next show, VMG (workshop 1) pt. 1

VMG is the acronym for Visit Me Genius, which is what, so far, after one workshop (the next tomorrow–come along!) I am calling Minus Theatre group’s next show, scheduled to have its public outing 26 June (come along!). It may change, the name, although this is what I called it in the recently finished exegesis (submitted in partial fulfilment of the requirements for the qualification of … Palavers hi-Def) on Minus’s work over the last three years. It does not, the name, refer to mathematical, scientific or artistic genius, however; neither does it refer to political or diplomatic genius, if such a thing were today to exist. It is intended to refer to place, to the genius loci–the spirit of place, of a place, always singular, a place having a spirit which is unexchangeable and inequivalent to any other, nontranslatable from one to another and from place to place. A spirit must then speak in its own singular terms and be the definition, if not the embodiment and encapsulation, of the utmost and extreme differentiation, as an absolutely unique belonging of a place.

To be visited by the spirit of a place, what does it mean? I don’t know… but I do know; I think one does know: one is visited in some places by an uncanny (or is it weird?) and unheimlich (German for unhomely, although nothing is more at home than spirit of place?) sense of… what is it? I think of the magnetism of Auckland’s west coast beaches, which is very literally there in the iron sands, summoning ghosts… And I look out into the bright dappled light of the Waiheke suburb where I write this and recall the pscyhogeography a friend invoked when we were talking about the special attraction this place holds for certain people, whom it holds in its embrace, whom it doesn’t always love lovingly. Some people can’t stand it after a while! It is as if it magnifies the reasons they have for choosing Waiheke as their place of dwelling. So they dwell but don’t abide, are not abided, perhaps by the spirit of the place. Berlin, too–although Paris may be the city of love, Berlin’s embrace is hotter, erotic, sexual, it has been said.

Christchurch–a flat city recently picked up and shaken like a rug: who can deny the genius presiding over the planes on which it is situated? threaded with braids of rivers… It can drive you mad, like Munich in the föhn. And so the place of a climatics must be granted when considering genius loci, which needn’t be anthropomorphicised, but may initiate a nonanthropological discourse…

Last Monday, May 15, Minus held at AUT its first workshop of 2017. Our last show was At the Stock Market Meeting–called this (always something in a name?) for the neurolivestock invented by Gilles Châtelet for his book (there being always something in a name) To Live and Think Like Pigs and subtitled, The Incitement of Boredom and Envy in Market Democracies, which I had recently read. At the Stock Market Meeting (ATSMM–Automated-Teller (Autotelic? Autosomatic?)-Meat-Machine) took place at Auckland Old Folks Association Hall on 19 November 2016, one night only, since which a full six months has intervened. Present on Monday last were all the people in ATSMM, minus Amber, plus Rumen.

In the writing so far on Minus, I have used pseudonyms for those involved. I break with this practice on the precedent of the RJF Project which, without the pretext, without the context of an academic assignation, assignment or task, I covered in regular posts on Square White World in 2007, where I used first names, and, sometimes, just initials. It is interesting to see in this although decade-old precedent also an invocation of the human stockyard and of anacting (proceeding minus theatre), as well as the dancer‘s critique of an actor (or is it a betrayal?), since the halflife of these, or the imaginary and fantasy life of these, as theses and thetic, overlaps with the concerns formalised in and by the work on and with Minus.

This writing, here on SWW (always square, a lit square, and white light, sunny, artificial, screenlight, separating, sacralising a world the profanation of which it presupposes), is anyway less formal and, surprisingly, less fictive: I don’t need to protect the names, to protest the givenness of names, in the essential contingency of their conventionality, here, from something called–a name!–ethics. I am released from the fiction of ethics here, again, surprisingly. …

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luz es tiempo
theatricality
thigein & conatus
X

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field recordings 2016:10:17 14:40:56 – 2017:02:03 22:05:16 including Gregor Kregar’s fantastic scaling personnages & Nick Cave & sculpture on gulf

snap

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more Igorrr postchickenism

porte-parole

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woob

porte-parole

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Thank you Minus Theatre. Your participation & involvement in & support for Minus’s next outing is now sought. Rehearsals begin May 15. Production 26 June. For details of how to help email: simon@minustheatre.com

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