• Es wäre aber gut, wenn Sie sich erinnern würden.
• Was soll ich denn davon haben?
• Was sollten Sie denn davon haben?

Terminal, ein Wort, dessen Bedeutung ich vergessen habe, fällt mir ein. Ich sehe nicht nach in den Wörterbüchern. Die Wörter in den Wörterbüchern stehen da in einer scheinbaren Unanfechtbarkeit und scheinbaren Bedeutung, die mich immer irritiert und abgestoßen haben. Terminal ist etwas mit Ende, es kommt meinem Trauma, mich für immer ruinieren, demolieren, auslöschen zu wollen, auch unerklärt entgegen. Aber als Resultat meines idealen Wunsches bleibt zuletzt doch dieses oder jenes Buch als Hinterlassenschaft und als Ich-Ruine stehen, auch in seiner baldigen Verschollenheit, und in ihr noch dauernder, denn es sind merkwürdigerweise die verschollenen Bücher, die anonym überdauern, wenn ihre letzten Exemplare einst verschollen sind. Ich bedauere viel, am meisten viele sinnlose Leiden von Autoren, die verzweifeln, daß niemand ihre Bücher kennt; sie wollen nicht verstehen, daß eben dies überhaupt kein Kriterium für ihre Arbeiten ist. [Ernst Herhaus, Notizen während der Abschaffung des Denkens.]

Gerade auch die Vorstellung, dass Ernst Herhaus, der und dessen Bücher verschollen sind, so sehr, dass ich nicht weiß, ob er überhaupt noch lebt, ein wenig beschämt bei Google eine Suchanfrage nach seinem Namen aufgibt und entdeckt, dass sein Name noch spukt, bei einem wenigstens.

“Skin:Surface, Substance + Design” will open at the Smithsonian’s Cooper-Hewitt, National Design Museum on May 7,2002, and continue through September 1 5,2002.“Skin” highlights the responses of designers from around the world to a culture obsessed with physical appearances and transformed by biotechnology. The exhibition focuses on works designed between 1997 and the present and features products, fashion, furniture, architecture and media that are expanding the conventional definition of surface.

Every object has a skin.Thick or thin, smooth or rough,porous or impermeable, skin is the line between a hidden interior and a visible exterior. Reflecting the convergence of natural and artificial life,“Skin ” demonstrates how designers today manipulate the relationship between the inside and outside of objects, garments and buildings to create surfaces that both reveal and conceal:skins that have depth,complexity and their own behaviors and identities.“‘Skin ’ shows the breadth of design thinking today,which encompasses the engineering of new structures as well as the fabrication of seductive forms and metaphors,” Museum Director Paul Warwick Thompson notes.“The exhibition is smart, sexy and provocative.” The rise of digital media over the past decade has changed the practice of design,providing tools for making objects and buildings that resemble living creatures — with complex curves and soft, responsive surfaces —but remain distinctly artificial. “Skin” features the work of such notable designers and architects as Greg Lynn, Petra Blaisse, Morphosis, Ross Lovegrove, Marcel Wanders and many others. The exhibition shows how enhanced and simulated skins are found throughout contemporary life, from clothing, products and buildings to our own living skins.

Informationen: hier

Desktop Theatre

Our first Desktop Theater production was an adaptation and performance of Samuel Beckett's well-known drama "Waiting for Godot" in an internet chat environment.

> Estragon Lower left S/ï-5 Default face

Vladimir enters. E: )sigh Nothing to be done. V: )sigh I'm beginning to come round to that opinion. All my life I've tried to put it from me, saying, Vladimir, be reasonable, you haven't tried everything. And I resumed the struggle. So there you are again.

A compression of Guy deBord's Situationist manifesto The Society of the Spectacle performed by and for the spectacled society.

Two Avs  whispering over din of Palace goingson  Av1: Separation perfected Av2: Illusion only is sacred Av1: Truth profane Av2: Illusion only is sacred Av1: Truth profane

Quicktime Movie der Aufführung: hier

In 1939, Titus visited Europe for five months and attended (without his wife) numerous variety shows featuring contortionist acts. His letters describ-ing these acts are probably the most engaging performance analysis of the halcyon contortionist aesthetic of the 1930s yet available. The Eve Cabaret, the Follies Bergere, and the Casino de Paris in Paris integrated contortionist acts into fantastic narratives featuring monsters, temptresses, and devils. In an Adam and Eve act the performance of voluptuous contortions allowed the sinful couple to recover its “lost” innocence: “He changed his hands to the woman’s knees and she raised her legs, showing the most sensational muscles of her neck and chest lifting the weight of the man” (Dec. 1939). The erotic element in these contortionist performances was glamorously dramatic:

The crudest and most sadistic contortion was one in which the dance[r] was standing up, raised one foot as in [a] frontkick, and the man placed this leg over the woman’s shoulders and forced it down her back, then he raised her in the air handling the other leg and swinging her back and forth. The shape of the contorted leg in her back was something hard to forget. They finished the dance with Magrita in a backbend, her legs wide open in a side-split and the man kissing her in her cachesexe. (Dec. 1939)

At the Théâtre de l’Alcazor, all acts were “performed by naked women.” These included trapezists, a lion tamer, acrobats, dancers, magicians, and sing-ers. Titus’s favorite performer was perhaps the Czech contortionist Erni Erikay, whose performance at the Théâtre de l’Alcazor exemplified the trend to situate contortionist acts within extravagantly dramatic contexts. Titus de-scribed her sensational and rather pornographic act with lively affection and in breathlessly convoluted language. The scene was a boudoir containing a polar bear rug upon which she slumbered until strange music awakened her. She wore a transparent black dress, in which she performed several lurid contor-tions. Then she

performed a backbend with her arms tied around the neck, lowering the head till she kissed the bear’s mouth. Suddenly she loosened the pin that fastened her dress in the back, the gown fell to the ground and she ap-peared in her marvelous white nakedness, except the dark spot of her cachesexe. At the sound of the applause, she walked to the front part of the stage and exhibited her body, then she projected her chest, bended backwards, closing more and more the backbend while her arms were handled in snakelike fashion. She bended then her knees and lowering the head she placed the top of the head against the floor and slided her feet farther from her face, she stretched herself at full length. She opened then her legs and when they were in a perfect side-split she raised to normal. After some coiling and bending over the bear’s skin, with the in-tention of exciting the bear to copulate (this was the leitmotiv of the dance) she came to her last posture, something marvelous not only for the difficulty of the trick, but because of the nakedness and beauty of the woman and the way absolutely boneless she handled her body. She per-formed an elbow stand over the bear’s head; first her legs were stretched horizontal over her face, then she folded the legs, projected her chest and bended the body jointing the buttocks to the top of the head, body in zigzag—then lowered the feet, opened the legs making room for the head that was coming through the thighs, and raised the head placing the back of the head against her sex in the closest backbend I have ever seen!

The reversal of this position was “so exciting that none was surprised when the bear skin started to move, raised up and walked over the acrobat to copu-late while the curtain was lowered.” In the “second act” of the show, Erikay performed on a “gigantic piano” and walked off the stage “backbended, legs stretched, hands over ankles” (Dec. 1939).

Titus’s enthusiasm for Erikay was such that he made her personal acquain-tance and began to correspond with her. A few months later, he remarked that she had written to him saying that she would send him a new set of pho-tographs “taken especially for me, performing her best contortions and wear-ing her smallest cachesexe” (29 April 1940). But soon he worried that the German occupation of Paris had broken his contact with her: “she must have run away [because she was Czech] so I’m afraid she must have a hard time with the Germans” (10 Dec. 1940). Nearly a year after his request, however, Titus reported that Erikay had sent him 20 photographs of herself, “mostly in the nude” (17 July 1941). But it is not clear from the correspondence how long he maintained his contact with her.

Aus Karl Toepfers faszinierendem Essay: Twisted Bodies. Aspects of Female Contortionism in the Letters of a Connoisseur

The Cannonball Adderley Quintet, Country Preacher Attwenger, Song Louie Austen, ConseQuences Albert Ayler, Love Cry Chet Baker, Sings And Plays From The Film "Let´s Get Lost" Patricia Barber, Modern Cool Gato Barbieri, Chapter Three: Viva Emiliano Zapata The Beach Boys, Pet Sounds Beethoven, Sämtliche Klaviersonaten, Friedrich Gulda Bernd Begemann, Solange die Rasenmäher singen Lily Boniche, Alger Alger James Brown, Live At The Apollo Tim Buckley, Greetings From L.A. Burger/Ink, [Las Vegas] John Cage, Music of Changes Leonard Cohen, Songs of Love And Hate Johnny Cash, At San Quentin Ornette Coleman, Skies Of America Ornette Coleman, The Shape Of Jazz To Come Alice Coltrane, Journey in Satchidananda John Coltrane, A Love Supreme John Coltrane, Olé Miles Davis, Birth Of The Cool Miles Davis, Bitches Brew Miles Davis, In A Silent Way Bob Dylan, Blood On The Tracks Bob Dylan, Hard Rain The Egg, Travelator Hanns Eisler, Kammermusik Kathleen Ferrier, Bach: Matthäuspassion Kathleen Ferrier, Brahms / Mahler Flowerpornoes, Ich & Ich Serge Gainsbourg, Histoire de Melody Nelson Serge Gainsbourg, L' homme à tete de chou Marvin Gaye, What´s Going On Beniamino Gigli, Arias And Duets Dizzy Gillespie, Swing Low Sweet Cadillac Charlie Haden & Hank Jones, Steal Away Herbie Hancock, Maiden Voyage Johnny Hartman, I Just Dropped By To Say Hello Isaac Hayes, Black Moses Billie Holiday, Songs For Distingué Lovers Mark Hollis, Mark Hollis Freddie Hubbard, Sing Me A Song Of Songmy Hula, Murmur Roland Kirk, Volunteered Slavery Ernst Krenek, Guten Morgen, Amerika Lene Lovich, Stateless Arto Lindsay, O Corpo Sutil Love Inc., Live´s A Gas LTJ Bukem, Journey Inwards Greil Marcus (ed), Lipstick Traces Material, Hallucination Engine Material, One Down Les McCann, Layers Charles Mingus, Mingus Ah Um Joni Mitchell, Hejira Thelonious Monk, Monk´s Music Van Morrison, Into The Music Me'Shell NdegéOcello, Plantation Lullabies Nightmares On Wax, A Word Of Science Luigi Nono, Fragmente - Stille, An Diotima Ann Peebles, Straight From The Heart Art Pepper, Intensity Pere Ubu, The Modern Dance Iggy Pop, Raw Power Prefab Sprout, Steve McQueen Prince, Dirty Mind The Red Crayola With Art & Language, Kangaroo? Rip Rig + Panic, God Rockers Hi-Fi, Rockers To Rockers Sonny Rollins, Alfie Sonny Rollins, The Bridge Pharoah Sanders, Izipho Zam Gil Scott-Heron, Moving Target Gil Scott-Heron, Winter In America Archie Shepp, Fire Music Frank Sinatra, Sings For Only The Lonely Nancy Sinatra, Boots Soft Machine, Six Sonic Youth, Goo Dusty Springfield, Dusty Sings Burt Bacharach Favorites The Smiths, The World Won´t Listen Mark Stewart, As The Veneer Of Democracy Starts To Fall The Stranglers, Rattus Norvegicus Talking Heads, More Songs About Buildings And Food Jimi Tenor, Out Of Nowhere Ali Farka Toure, The Source The Velvet Underground & Nico Scott Walker, Tilt Anton von Webern, Gesamtwerk [Boulez] Paul Weller, Heliocentric Wire, 154 Wire, Red Flag Robert Wyatt, Old Rottenhat Robert Wyatt, Shleep Bobby Womack, Communication Joe Zawinul, Zawinul Tom Zé, Brazil Classics 4, compiled by David Byrne Alexander von Zemlinsky, Lyric Symphony, Six Maeterlinck Songs

Heute erscheint das letzte jetzt:Magazin. Es besteht aus 3657 Gründen, warum es sich diese Woche zu leben lohnt.

Karen Elson in Purple, fotografiert von Terry Richardson. Aus meinem allerliebsten Klatschweblog Supermodels are lonelier than you think, das jeden Tag verlässlich Nuggets ausgräbt. Nein, ich sage jetzt nicht, dass ich das nur wegen der superbitchy Texte lese.

Question: how to love human beings

Possible answers: Sorry, I found no answer for your question.

AnswerBus Question Answering System

"aus Wut onaniert": Letzte Woche gelesen, noch immer nicht geschafft, mir das vorzustellen.