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je ne existe pas
je suis transparant
invisible
je vois les otre mais ne me vois pas

ik besta niet
Ik ben transparant
onzichtbaar
Ik zie anderen maar zij zien mij niet

as above so below

ik droeg sociale labels die ik kreeg, zoals insignes om de vierkante pin van mezelf in een rond gat te dwingen

Ik zie mijn geslacht meer als een ervaring, een sfeer. Een ritueel, een gestileerde herhaling. Samengesteld en verzameld door het leven, met alles wat het te bieden heeft.

Ik voel me nergens anders dan mezelf. Niet hij, niet zij, misschien zij, maar het is ingewikkeld. Ze bieden me geen troost.

laten we mensen zijn. Laten we hen een tijdje zijn

Gender vormt de basis van sekse. We worden niet geboren met sekse al in ons. We hebben penissen, vagina's, borsten, baarden, chromosomen, enz., maar deze dingen zijn op zichzelf geen sekse. Het zijn kenmerken van onze biologie, maar we groeperen ze in geslachten. Wanneer we penissen jongensdelen noemen, creëren en leggen we geslacht op aan het lichaam.

Performatieve handelingen, dat zijn alle kleine acties die u onderneemt die een identiteit construeren, zijn van cruciaal belang om te begrijpen hoe geslacht op individueel niveau functioneert.

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ik denk dat ik niet-binair ben
eerlijk gezegd weet ik het niet zo goed
ik zeg 'ik denk' om de klap te verzachten
mezelf tot stilstand te brengen

ik weet dat ik geen vrouw ben
hoewel ik wou dat ik nog steeds je dochter kon zijn
opgevoed als je meisje
leerde me grote kracht
misschien rouw ik daarom om haar verlies

ik weet dat ik geen man ben
ik wapen mezelf in mannelijkheid
om mijn comfort en bescherming te verzekeren
ik heb geen zin om de titel 'hij' te dragen
toch lijken velen terughoudend om te accepteren
een prinses in ridderharnas

ik pas niet in de binair
ik ben een levende veelvoud bestemd voor verandering
maar ik ben gebonden door de koppigheid
van degenen die vasthouden aan classificatie

ik ben niet-binair
want het is een titel waar ik me het meest geschikt voor voel
'zij' staan mij veelvoud toe
terwijl ik me kan identificeren
door een wereld met een dodelijke greep op singulariteit

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https://www.rareearthgallerycc.com/blog-entry/91/introduction-to-sacred-geometry

https://consciousitems.com/blogs/practice/merkaba-meaning

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Sacred Geometry is often used in holistic practices and readily pictured on wellness merchandise, but what is the actual meaning behind it?

Sacred geometric patterns exist all around us, creating the fundamental structure and templates of life in the universe. The patterns can be broken down into a language of mathematics that rules the entirety of our visible and invisible world. The geometrical archetypes reveal the nature of each form and its vibrational resonance, symbolizing the inseparable relationship between everything and everyone, which ultimately makes up our whole matrix and the universe at large - embodying oneness. So what exactly is the spiritual meaning behind these geometric symbols? We sat down with wellness practitioner Michelle Harris to examine some of the beautiful patterns and shed some light on their meaning

WHAT IS SACRED GEOMTERY?

Many teachings have described Sacred Geometry as the blueprint of creation and the genesis, the origin of all form. Sacred geometry is considered an ancient science that explores and explains the energy patterns that create and unify all things and reveals the precise way that the energy of creation organizes itself. It is said that every natural pattern of growth or movement comes back to one or more geometric shapes.

The molecules of our DNA, the cornea of our eye, snowflakes, flower petals, crystals, a shell, the stars, the galaxy we spiral within, the air we breathe, and all life forms are created out of geometric codes.

HOW CAN SACRED GEOMETRY IMPROVE MY LIFE?

Through observing and contemplating sacred geometric shapes/codes, they can reveal deep wisdom, opening up to life and creation of the Universe itself. Certainly, they have for me, as I have explored them through my own healing and empowerment journey.

It is believed that the ancients considered that the experience of Sacred Geometry was essential to the education of the soul. They knew that these patterns and codes were symbolic of our own inner realm and were significant to higher consciousness and self-awareness. Sacred geometry amplifies our connection to spirit, and creates harmony within ourselves, and between ourselves and the outside world. It is often called "sacred architecture" because it underlies everything and is woven into the fabric of all creation.

Further, in addition to our physical realm, it is said we have a "Lightbody & Merkabah", which is a gridwork of light and sacred geometry that brings together your physical, emotional, mental and spiritual being. This body radiates light energy and links you and you as a multidimensional self, with the infinite universe.

Sacred geometry as I have worked with it, contains high frequencies of energy and light that can activate, heal, awaken, and transform. The symbols are like codes that assist you in your journey of life, but also can be used more consciously to bring about deep soul awakening and connection to our true divine essence. It can be used to open up pathways and doorways to the infinite realms, as well as the connection to the oneness of all life, in nature and the whole world around us.

Sacred geometry brings about certain effects of healing, harmonizing and rebalancing on all levels. It connects the inner and outer, uniting all.

The Platonic Solids are thought of as the sacred geometry 'building blocks' of the Universe that were taught in the Greek Mystery Schools 2,500 years ago (these are tetrahedron, hexahedron, octahedron, dodecahedron & icosahedron). But the triangle is a symbol that underlies all of them. Triangle symbolizes balance, harmony, completion. Rising upwards, it elevates us to Higher Consciousness.

WHAT ARE SOME OF THE MOST COMMON SHAPES? WHAT IS THEIR MEANING?

Here are some shapes and their meanings/intentions and how they help us.

The platonic solids are thought of as the sacred geometry 'building blocks' of the Universe that were taught in the Greek Mystery Schools 2,500 years ago (these are tetrahedron, hexahedron, octahedron, dodecahedron & icosahedron). But the triangle is a symbol that underlies all of them. Triangle symbolizes balance, harmony, completion. Rising upwards, it elevates us to Higher Consciousness.

Wholeness, oneness, never-ending circle/cycles of life, the eternal constant, cycles of change, unity, perfection, inclusive, boundaries. It is said the first thought of God is represented by a circle, which exists by itself (and then it created a replica of itself.

Foundations, solidity, grounding, practical, 'earthly', stability, dependability, safety. The base of a pyramid (which creates the balance/stability).

The Fibonacci and Golden mean ratio (all shapes come back to this mathematical formula). 'As above, so below', connects heaven and earth. The spiral 'spirals' up to connect the physical self to the Higher Self, and all levels of our being (inter-dimensionally) and into the core of the Earth. Galaxies are in spirals of energy. Energy moves in spirals. The spiral is also the kundalini, which is symbolic of raising one's consciousness on the path of the evolution of the soul. The spiral is connected to the flow of energy through the chakras as they spin in a circle. The spiral is the spiral shape as a double helix in the DNA of each cell.

CROSS (2 LINES)

The intersection of the 2 lines is where 'heaven and earth' meet, and the result of their union is mankind (symbolized by the cross).

FLOWER OF LIFE CONTAINS THE SEED OF LIFE

The Flower of Life is a physical representation of the connection with all living things in the universe. It is considered a sacred symbol universally, and said to also contain within it the 'blue print of creation', the 'building blocks' of the universe - which we call the "Platonic Solids". These are templates through which the foundation of life can be expressed. The Greek Mystery Schools 2,500 years ago taught that there were five perfect 3D forms - the tetrahedron, hexahedron, octahedron, dodecahedron, and icosahedron. These Platonic Solids are considered the foundation of everything in the physical world, revealing the unity in all things. However, if you break these Platonic Solids down to their simplest forms, they form the triangle, square, circle, spiral, and straight line. These are the basic 'sacred geometric shapes (above).'

PYRAMID (SPIRAL, TRIANGLE, AND SQUARE)

The Pyramid contains the spiral, the golden mean ratio, the triangle and square. The pyramid contains the number of divinity, 3 (the 3 sides to each triangle) plus the number of mankind, 4 ( 4 sides of the square). It represents the relationships between Source & humanity. The Pyramid of Giza in Egypt was built to create the energy that facilitated connection with the spiritual realms. The top or apex of the pyramid represents the highest point of spiritual attainment, the body of the structure is the 'journey' or ascent to enlightenment, spiraling upwards. The pyramids were used for initiations, and in transporting to 'other realms.' They were used by the initiates to go through a kind of death and become 'transformed' or 'reborn'. The merkabah is like two pyramids interlocking

STAR OF DAVID (OR MERKABAH IN ITS 2D FORM)

The upward triangle is masculine, the downward triangle is feminine, the two merging in perfect harmony.

MERKABAH (INTERLOCKING TRIANGLES)

All sacred symbols make up the Merkabah.

HOW IS SACRED GEOMETRY USED IN HEALING? AND CAN SACRED GEOMETRY IMPROVE MY MEDITATION?

Many years ago when I started exploring sacred geometry, which I discovered through using crystals, I found you could create the shapes and use them for healing and raising your consciousness.

I was going through a lot of inner child trauma at the time, and I found meditating with the symbols (especially the flower of life), and also using crystal grids in the geometric shapes, incredibly beneficial.

Sacred geometric shapes as we have seen, bring us back to our true essence, to connect more deeply to the inner, and harmonize with the outer. It expands us and connects us on many levels. Each geometric shape has a specific energy vibration and intention, and feeling of energy. When using them in meditation or healing, they can bring about an energetic shift in your being and in your consciousness, creating healing and re-balancing.

Some energy healing practices and symbols are used specifically like this. The symbols are like 'super-charged' focused intention for healing or whatever the symbol is being used for.

To create grids in sacred geometric shapes, you sit inside the crystal grids in the shape required as you meditate and feel their healing benefits. Or you can also sit and meditate whilst looking at these grids, and feel their effects.

For example, to help create better boundaries, we can use a circle of (red) stones. To feel more grounded, use a square grid created with grounding stones (like hematite).

SOME CRYSTAL GRIDS USING THE SACRED GEOMETRIC SHAPES AND HOW THEY MAKE YOU FEEL:

Circle grid - feeling of safety, boundaries, feeling secure and protected

Square grid - creates a foundation or base to build from, practical, 'earthy', grounding

Triangle grid - encourages to rise upwards to "higher consciousness'. Elevates your energy upwards. Also represents balance and harmony.

Star of David grid - this activates the Merkabah and is a very powerful grid. It creates high spiritual and psychic energy, for healing, protection, connecting with spiritual beings in other dimensions, and manifestation. I would use this only under the guidance of someone who understand how to use it. (However, you can meditate upon the symbol itself).

Crystals themselves can transmit sacred geometric codes and so when they are held or applied to the body/chakras, their energetic vibrations affect healing and re-balancing on all levels. Crystal healing as a healing modality also uses grids on the body/chakras in specific patterns for their healing, harmonizing, and unifying benefits.

Also, you can connect to sacred geometric shapes anytime - not just sitting in meditation. As you go about your day, you can bring yourself back into the present moment and mindful awareness by observing and feeling the sacred geometric shapes that make up the world around us. This is a great reminder of the connection to all in life - people, objects, nature, everything.

And you can also use in them in a mindful movement meditation: You can dance, move or walk, in a spiral shape. You can walk a spiral labyrinth, or other labyrinths in the shapes and designs of the sacred geometric shapes.

MANY PEOPLE ARE DRAWING MANDALAS NOW. WHAT IS THE BENEFIT OF THAT?

A mandala is a design made up of symbols and shapes within a circle. You can often see the Flower of Life or Seed of Life in a mandala, as well as circles, spirals, triangles, etc.

Mandala actually means 'circle' in Sanskrit. You can create mandalas for different things, to symbolize different intentions. As you draw and create, a mandala can reveal the inner workings of yourself and your soul. It can be used as a meditation and mindfulness tool, to create feelings of inner peace and calm, reduce stress and anxiety, and much more. It is a fun, creative and personal way to explore your inner self, express feelings, merge inner and outer worlds, and also use it as a manifestation tool. It can be inspirational and therapeutic.

Michelle Harris is the founder of the draco dragon healing symbols system, a crystal healing system, which uses symbols that are based on sacred geometry and that bring about healing and unification. She also uses crystal grids to this effect. The healing symbols help people on multiple levels, from physical complaints to emotional healing, mental health, relationships, past trauma, developing intuition, releasing stress, soul/spiritual connection, and planetary and universal level alignments. Michelle also offers her popular life and soul empowerment programs to create balance and wellbeing.
michelleharrisinternational.com

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Sacred Geometry Explained - What is the Meaning Behind the Patterns?

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Sacred geometric patterns exist all around us, creating the fundamental structure and templates of life in the universe. The patterns can be broken down into a language of mathematics that rules the entirety of our visible and invisible world.

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‘Souped Up Tea Urn & Teapot (Dartford 2004)’, Jeremy Deller, Alan Kane, 2004 | Tate

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‘Souped Up Tea Urn & Teapot (Dartford 2004)’, Jeremy Deller, Alan Kane, 2004

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https://www.tate.org.uk/art/artworks/parker-thirty-pieces-of-silver-t07461

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Thirty Pieces of Silver comprises over a thousand flattened silver objects, including plates, spoons, candlesticks, trophies, cigarette cases, teapots and trombones. All the objects were ceremoniously crushed by a steamroller at Cornelia Parker's request. She then arranged the transformed silver artefacts into thirty disc-shaped groups, which are suspended about a foot from the floor by hundreds of fine wires. Each 'disc' is approximately ninety centimetres in diameter and they are always hung in orderly rows, although their overall configuration is adapted each time to the space in which the work is displayed. The title refers to the biblical story of how the apostle Judas Iscariot betrayed Jesus in return for thirty pieces of silver. When the work was exhibited in the Hayward Gallery's British Art Show of 1990, Parker commented on the work in the exhibition catalogue:

Silver is commemorative, the objects are landmarks in people's lives. I wanted to change their meaning, their visibility, their worth, that is why I flattened them, consigning them all to the same fate. As a child I used to crush coins on a railway track - you couldn't spend the money afterwards but you kept the metal slivers for their own sake, as an imaginative currency and as physical proof of the destructive powers of the world. I find the pieces of silver have much more potential when their meaning as everyday objects has been eroded. 'Thirty Pieces of Silver' is about materiality and then about anti-matter. In the gallery the ruined objects are ghostly levitating just above the floor, waiting to be reassessed in the light of their transformation. The title, because of its biblical references, alludes to money, to betrayal, to death and resurrection: more simply it is a literal description of the piece.

(Quoted in British Art Show, exhibition catalogue, Hayward Gallery, London 1990, p.88.)

Parker's work frequently transforms the nature of an object or material through the use of extreme force. She has crushed, stretched and exploded numerous objects, while also enlisting the help of such unlikely collaborators as the British Army, the Colt Firearms Factory in Connecticut and H.M. Customs and Excise. Cold Dark Matter: An Exploded View 1991 (Tate ) is a pivotal piece in Parker's career and exemplifies her often violent approach to materials. It comprises the charred remains of a garden shed that was blown up for the artist by the British Army. The residual fragments are suspended around a single light bulb. Thirty Pieces of Silver was the first large-scale work that featured what Parker calls a 'cartoon death'. She has long been fascinated by the violence of cartoons: 'flattening Tom, Jerry filled with bullet holes, Road Runner falling off a cliff. The deaths are only token ones as the characters always pop up again in the next frame.' (Quoted in Virginia Button, 'Conversation with Cornelia Parker', Ninety, No.27, 1998, p.68.) Similarly, Parker is not interested simply in the destruction of materials, but more their resurrection and transformation.

Parker has since made many other works involving silver. For example, to make Measuring Niagara with a Teaspoon 1997 (Tate ), she took a Georgian teaspoon and had it melted down and then drawn into a wire whose length was equal to the height of the Niagara Falls. The value and meaning of silver, as well as its physical properties, have been a source of continual fascination for her. She has said that this is 'because it is the most reflective metal that exists and [it] also has the ability to be the opposite very dull and black, it has the plus and minus in one material. Also linguistically in terms of the use of silver in language, 'silver tongued', silver lining'. It has a very poetic aura around it, it's used in mirrors in which we see ourselves and in telescopes to look at the universe ... It's part of our cultural make-up somehow, it has all kinds of ways of being in the world. Metals, in general, I love but I think that silver is my favourite'. (Quoted in unpublished excerpt of interview with Tate curator Virginia Button, 1998.)

Cornelia Parker, exhibition pamphlet, Serpentine Gallery, London 1998.
Cornelia Parker, exhibition catalogue, Institute of Contemporary Art, Boston 2000, reproduced p.42.
Cornelia Parker, exhibition catalogue, Galleria Civica d'Arte Moderna e Contemporanea, Turin 2001, reproduced in colour, p.92.

Does this text contain inaccurate information or language that you feel we should improve or change? We would like to hear from you.

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'Thirty Pieces of Silver', Cornelia Parker CBE RA, 1988-9 | Tate

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'Thirty Pieces of Silver', Cornelia Parker CBE RA, 1988-9

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Rhythm 0 by the Serbian artist Marina Abramoviccomprises seventy-two objects set out on a long table covered with a white tablecloth, as well as sixty-nine slides. The slides are projected onto the gallery wall above the table from a projector which sits on a stand. Among the objects on the table is a framed description of a performance piece of the same name that took place at Studio Morra in Naples in 1974. The slides document this performance and the objects replicate the original props used. Many are perishable items, such as foodstuffs and flowers, which need to be replaced each time the work is displayed. The work was remade for exhibition purposes in 2009 as part of the Abramovic'sretrospective exhibition at the Museum of Modern Art, New York. It exists in an edition of three plus two artist's proofs, and Tate's copy is number one in the edition.

The list of props in the work is as follows:

Abramovic's original intention for the piece is explained by her written instructions which accompanied the work:

Instructions.
There are 72 objects on the table that one can use on me as desired.

Performance
I am the object.
During this period I take full responsibility.

1974
Duration: 6 hours (8pm-2am.)
Studio Morra, Naples
(Reproduced in Biesenbach 2009, p.74.)

Thus, for a period of six hours, visitors were invited to use any of the objects on the table on the artist, who subjected herself to their treatment. The artist has stated, 'the experience I drew from this work was that in your own performances you can go very far, but if you leave decisions to the public, you can be killed' (quoted in Ward 2009, p.132). It is important to note that for the purpose of museum display, the gun has been deactivated and, together with other dangerous items, secured to the table. It is not the artist's intention that the performance should be repeated. Instead, while many performance works rely on photographic or video documentation only, this work physically incorporates the 'instruments' used as props in the performance (or their replicas), so that the mechanics of threat and seduction played out in the original work are palpable to the viewer, especially when seen in combination with the slides documenting the event.

As with many of Abramovic's works, themes surrounding the physicality of the body, endurance, pain and the staging of authentic live actions are dealt with in an experimental way, incurring a degree of personal risk and suffering. The objects that could be 'used on her' were chosen to represent both pain and pleasure. Through the risk to her own person in this work, and her acceptance of that risk, Abramovic also explored collective action and responsibility. The ritualistic and quasi-sacred character of the table-as-altarpiece is a common theme in Abramovic's work, as is her own performative contribution. Her role as shaman-like figure was played out in her performance for her 2009 retrospective at the Museum of Modern Art: entitled The Artist is Present, it involved her sitting in a meditative state and staring into the eyes of one visitor at a time throughout the duration of the show.

Rhythm 0 is one of Abramovic's most important works. It was the last work in a series of individual body art performance pieces that began with Rhythm 10, and according to the artist it presents 'the conclusions of my research on the body when conscious and unconscious' (Abramovic in Biesenbach 2009, p.74). For example, in Rhythm 10 Abramovic used a collection of twenty knives to stab repeatedly at a piece of paper between her fingers. Each time she cut herself she changed knives, until she had used all the knives. This series was made just prior to the important sequence of works Abramovic created in collaboration with the artist Ulay (Frank Uwe Laysiepen).

Further reading
RoseLee Goldberg, Performance Art: From Futurism to the Present, London 1999, p.165.
Frazer Ward, 'Marina Abramovic: Approaching Zero', in Anna Dezeuze (ed.), The 'Do-it-Yourself' Artwork: Participation from Fluxus to New Media, Manchester 2009, pp.132-44.
Klaus Biesenbach (ed.), Marina Abramovic: The Artist is Present, exhibition catalogue, Museum of Modern Art, New York 2009.

Catherine Wood
March 2010
Does this text contain inaccurate information or language that you feel we should improve or change? We would like to hear from you.

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table with 72 objects and slide projector with slides of performance and text

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'Rhythm 0', Marina Abramovic, 1974 | Tate

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https://artmuseum.princeton.edu/collections/objects/18931

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https://www.icaboston.org/art/ana-mendieta/silueta-works-mexico

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1. Brainstorm ideas for your ritual performance in a sketchbook. Do research on your favorite ideas. You will present this brainstorming and research to the class for feedback.

2. After selecting your idea, you will perform your ritual on your scheduled day. Feel free to engage the class or others as necessary.

3. In addition to your performance, please prepare an artist’s statement for incorporation into, display alongside of, or distribution with your work. Your statement should consider the following questions:

What is this work about? (This is the idea, theme, message, or concept for your piece. Think of this as the thesis statement for your work.)

Why do you want to do this work? (This is your explanation of the importance of the work and what it means to you)

How will you do this work? What is it made of or out of? (This is how you envision the performance happening—medium/a, actions, texts, audience/performer relationship, etc.)

What do you want this work to do or accomplish? (This is the outcome or experience you anticipate for the work)

How does it relate to gender?

4. Make sure you have arranged for someone (probably someone else in the class) to document your performance (probably, though not necessarily via video and still photographs)

5. There will be a class critique of the performance.

6. After completing the performance, you will complete a self-analysis on Angel of elements/principles of design in the piece you performed.

Discuss your work in terms of the components of an artwork (subject/form/content/context)

How does the work engage with elements and principles of design continued from the study of 2 and 3 dimensional design such as balance, color, contrast, direction, reflection, repetition, scale, shape, value/brightness, and space?

How does the work engage with the elements of 4 dimensional design (architecture, topography, light, movement, sound, and time)?

How does the work engage with the principles of 4 dimensional design (causality, duration, energy dynamics/intensity, interactivity, musicality, simultaneity/juxtaposition, spatial relationships, speed, and transitions)?

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Suzy Lake, "A Genuine Simulation of..." (1973-74)

Required Reading:
"Updated: Matthew Barney, The Cremaster and the Markers of an Invisible Masculinity" by Xavier Lopez Jr.

Why we're doing this:
A ritual is a series of actions or type of behavior regularly and invariably followed by someone. There are a variety of rituals, both public and private, but repetition is central to all of them. The rituals we are most familiar with might include birthdays, holidays, religious ceremonies, elections, and even possibly news cycles.

An example of art utilizing ritual is Marina Abramovic's violent performance, "Rhythm 10" (1973), which involves repeatedly striking knives between her fingers, recording the process with an audio recorder, and then repeating the performance in time with the audio recorder.

Viennese Actionism, such as Hermann Nitsch in "6-Day Play" (1998), is an extreme example of ritual where performers subject their bodies to mutilation and sadomasochistic acts.

Another example is Suzy Lake's "A Genuine Simulation of..." (1973-74) [pictured above] which consists of a series of performative photographs of the artist in which she has applied varying amounts of makeup. The work questions the rituals of femininity and the representation oneself. Each of these examples engages with questions of gender: How does gender relate to violence, what specific rituals relate to different genders, and how does repetition play a role in defining gender?
PROCESS:
Think about the role of repetition and gender in rituals. Create your own ritual. What is the motivation behind your ritual? Think about historical rituals, religious rituals, celebratory rituals, and artistic rituals. In your ritual, is repetition used in an expressive or utilitarian way? This performance asks you to take up these questions as you consider ritual and gender. Be prepared to discuss these ideas in your artist statement and critique.

1. Brainstorm ideas for your ritual performance in a sketchbook. Do research on your favorite ideas. You will present this brainstorming and research to the class for feedback.

2. After selecting your idea, you will perform your ritual on your scheduled day. Feel free to engage the class or others as necessary.

3. In addition to your performance, please prepare an artist's statement for incorporation into, display alongside of, or distribution with your work. Your statement should consider the following questions:

What is this work about? (This is the idea, theme, message, or concept for your piece. Think of this as the thesis statement for your work.)

Why do you want to do this work? (This is your explanation of the importance of the work and what it means to you)

How will you do this work? What is it made of or out of? (This is how you envision the performance happening-medium/a, actions, texts, audience/performer relationship, etc.)

What do you want this work to do or accomplish? (This is the outcome or experience you anticipate for the work)

How does it relate to gender?

4. Make sure you have arranged for someone (probably someone else in the class) to document your performance (probably, though not necessarily via video and still photographs)

5. There will be a class critique of the performance.

6. After completing the performance, you will complete a self-analysis on Angel of elements/principles of design in the piece you performed.

Discuss your work in terms of the components of an artwork ( subject/ form/ content/ context)

How does the work engage with elements and principles of design continued from the study of 2 and 3 dimensional design such as balance, color, contrast, direction, reflection, repetition, scale, shape, value/brightness, and space?

How does the work engage with the elements of 4 dimensional design (architecture, topography, light, movement, sound, and time)?

How does the work engage with the principles of 4 dimensional design (causality, duration, energy dynamics/intensity, interactivity, musicality, simultaneity/juxtaposition, spatial relationships, speed, and transitions)?

7. Upload documentation of your performance to our YouTube Channel.

sketchbook planning - 2pts

artist statements - 3pts

completion of the performance - 4pts

self-analysis of elements/principles of design in the piece you performed - 8pts

participation in critique - 2pts

documentation quality and on-time upload - 2pts

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Suzy Lake, "A Genuine Simulation of..." (1973-74) Required Reading: "Updated: Matthew Barney, The Cremaster and the Markers of an Invisible Masculinity" by Xavier Lopez Jr. Why we're doing this: A ritual is a series of actions or type of behavior regularly and invariably followed by someone.

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Performance art is therefore an ephemeral vehicle for immortality, as like ritual itself it is fixed in time, whether it tries to prolong or resist it, and is therefore more related to life and its processes.

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For Eliot, the artist (maker/poet) belongs to the realm of the ‘supernatural, normative, magical and religious organization of a primitive society’, functions of which are intrinsically to ‘entertain, memoralise, decorate, conjure and educate’

(ibid: 802). These functions are becoming increasingly unimportant. As society moved away from the primitive format, the artist may be perceived as a surviving relic of a by-gone era, often granted ‘poetic license’ (ibid: 802)

- permission to be illogical or inaccurate and diverge from linear logic. In fact, one might say hyperbolically that the artist ‘is older than other human beings’ (Harmon, 1976: 802)

in the sense that artistic creation has its roots in great depths of time, created by and providing a sense of unity, which in turn the auience ‘may recognize without

intellectually unerstaning it’ (ibi: 806), giving a sense of familiarity with suppressed elements of the human nature.

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Profound religious experiences were, therefore, sought through Artwork which often

functions as a substitute

of religion, such as Mallarmé’s poetry, while artistic practice

becomes a substitute of religious ritual. Hence, the perception of Art evolved from

being complementary or even parallel to religion to becoming a

new religion

. In this

light, ‘artwork’ is seen

as ‘altar’ (Acconci, 2002), while the artist is seen as a spir

itual

figure; a priest, a shaman, a mystic, a martyr, a saint, or a primitive.

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Abstract

This dissertation investigates the element of Ritual, apparent in a wide variety of performance pieces, dating back to the earliest forms of performance art, and essentially its relationship to the performative process. Significant sociopolitical, cultural and scholarly developments, since the 19th century, are outlined, with emphasis on their influence on perceptions towards the ceremonial/behavioural aspect of religion and the revived interest in ritual and anthropology, leading up to contemporary scholarship and work. Ritual and performance is, hence, explored, in relation to social change, emergent from contexts of societal crisis, as well as personal growth and the pursuit of spirituality. Significant elements such as time and space, as well as the use of the body, is further considered, both in terms of ritual and artistic process, revealing correlations between art and religion. Finally, this dissertation looks at ritual and performance as transformative processes and enquires into where the line is drawn between the two and the extents to which there is in fact a distinction.

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The Influence of Ritual in Performance Art: A Retrospective and Correlational Analysis

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Abstract This dissertation investigates the element of Ritual, apparent in a wide variety of performance pieces, dating back to the earliest forms of performance art, and essentially its relationship to the performative process.

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I see my gender more as an experience, a vibe. A ritual, a stylized repetition. Accumulated through life, with all it has to offer.

interactieve performance, altaar op grid opbouwen
sacred geometry
(gecontroleerd en toch random) items met verhalen.
samen de tafel dekken, samen eten en drinken, samen delen.

thee is de perfecte vorm om nieuwe herinneringen te maken met anderen.

Haar draagt herinneringen met zich mee. Het knippen ervan kan de vernieuwing van een persoon zijn, opschoning. Ter bescherming, rouw, herinnering en vertrouwen.

baphomet, as above - so below.

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gender
sex
race
ethnicity
social class
ability/disability
profession
relationship status
sexual orientation
religion
family
values and beliefs
citizenship and nationality
hobbies
skills
ancestry
physical appearance
birth order
languages spoken
caste status
political views
personality

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vantevoren begrippen uitleggen, voorstukje uitleg of legenda
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intro in debat.

meerdere scholen? kennis met coöperatief debat.

begrip van leerlingen testen vd vragen, meer uitleggen waar nodig.

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- Waarom zou je het apart over homo’s, lesbo’s, biseksuelen, transgenders en mensen met een intersekse conditie moeten hebben, iedereen is toch gelijk?
- Beleef jij sekse als mannelijk of vrouwelijk, of is het niet zo duidelijk te zeggen of je sekse het een of het ander is?
- moeten we elk mens om hun voornaamwoorden vragen?
- om de hoeveel tijd moeten we iemand om hun voornaamworoden vragen?
- Hoeveel genders bestaan er?
- Is gender en de interpretatie daarvan een weerspiegeling van de tijd of van de samenleving?
- Zou depressie onder transgender middelbare scholieren kunnen worden verminderd door een verandering van schoolsituatie?
- Kan een gsa ook voor cidgender hetero mensen zijn?
- Wat kan een GSA bijdragen aan het schoolklimaat?
- Wat draagt kennis over genderdiversiteit bij aan het gevoel van veiligheid op school?
- Hoe kijken we als samenleving naar mannen en vrouwen? Welke stereotypen en rollenpatronen leven er, en welke gevolgen hebben die?
- Vanaf 3 jaar weten kinderen al welk gedrag van hen wordt verwacht. Ze observeren en imiteren, krijgen bevestiging of juist kritiek op wat ze doen. Zo wordt gender een self-fulfilling prophecy.
'
Fastenau, K. (2021, 15 juni). Genderbewust lesgeven: goed voor alle leerlingen. Klasse. Geraadpleegd op 22 mei 2022, van https://www.klasse.be/260729/genderbewust-lesgeven/

Zou een kind zonder gender kunnen worden opgevoed, en wat voor gevolgen zou dat hebben?
- Zou een mens zonder gender kunnen leven?

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(goedgekeurd)
handelingsdeel (dans)
sample muziek, combineren

(afgekeurd)
verzamelen filmpjes van anderen
tekst uit films/muziek
zelf muziek maken

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- Zwarte croaking stem, ochtendstem, tijdens uistrekken groan
- Indoctrinatie filmpjes (phineas and ferb / ww2)
- cult of dionysos
- astrologie
- kleurenstalen
- vogue
- royal we
- villain arc
- English, bloody english
- Sluwe leugens, harsh truth
- Finger snaps ipv claps
- Stimmtoys
- Sextoys
- Lijstjes
- Dingen rechtleggen
- Touw vergelijking scouting en kinbaku
- I am flesh, bones, i am skin, home
- Jeuk krabben aan linkerarm tot rood rood met krassen
- Eyes on fire - blue foundation (background music)
- Gentle caressing of the own skin
- Skinning a piece of meat
- Man.. i wish i were a boy (audio with flashing examples)
- I grew into my horns
- Drawing horns on angels or baby putti
- Slecht gelakte nagels
- Drink een donker bier uit mn vrouwelijke fles op een kinderlijke manier, close up
- Gendered items and clothing

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Archive Archive Archive Archive Archive Archive

Videoinstallation by Wu Tsang, Tosh Basco & Moved by the Motion

Wu Tsang's films unite documentary and narrative techniques with fantastical excursions into the imaginary, exploring hidden histories, marginalised narratives and the act of performance itself. In early March, she and Moved by the Motion made a film with the ensemble. Based on the poem come on, get it by Fred Moten and the Report from Occupied Territory by James Baldwin, the camera moves continuously between individual choreographies and movements and actions of the group, ranging from improvised music to ascents and descents on a Penrose triangle - a triangle that connects and separates the performers depending on their perspective. With Fred Moten's Poem, the film explores motifs of indivisibility, fluidity and watery land and mud, and investigates subterranean currents of resistance and the politics of (in)visibility. The film was made on the set of Composition III, a production at the Schiffbau that will never take place and whose prehistory can now be experienced at the Pfauen.

Schauspielhaus Zürich exhibits The Show's Over from 11 - 14 March in collaboration with Shedhalle and as part of the Shedhalle programme Proto-Club: We all move together, which gives space to the longing for the physical experience of music and shared movement.

With Tosh Basco, Josh Johnson, Steven Sowah, Thelma Buabeng, Ondrej Vidlar, Roderick George, Titilayo Adebayo, Songhay Toldon, Thomas Wodianka, Matthias Neukirch, Lena Schwarz, Gottfried Breitfuss, Roeselare Ames, Perle Palombe, Michael Neuenschwander, Deborah Macauley, Joshua Wicke, Sara Mathiasson, Michèle Nussbaum

Film by

With

Tosh Basco, Moved by the Motion (Wu Tsang, Tosh Basco, Asma Maroof, Josh Johnson, Patrick Belaga)

Director of Photography, Cinematography

Antonio Cisneros

Original Score

Asma Maroof

And

Patrick Belaga, Kelsey Lu, Ahya Simone, Klein, Austin Williamson

Horns

Tapiwa Svosve, Nicola Habegger, Sandra Weiss

Dramaturgy

Joshua Wicke

Production

Laura D'Incau, Joyce Keokham

Supported by UBS Kulturstiftung and Luma Foundation

Co-Commissioned by Schauspielhaus Zürich & Lafayette Foundation

Film lenght: 30 min.
World premiere: 18 June 2020, Pfauen

Free admission, no registration required.
The film is shown in a loop. Always starting on the hour and half hour. The last screening starts at 22:30.
A maximum of 10 people per screening are allowed. Admission is via the Pfauen Foyer.
Masks are compulsory for all visitors aged 12 and over.

More texts and contexts related to our stagings in the theatre's journal.

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The Show's Over // Wu Tsang's films unite documentary and narrative techniques with fantastical excursions into the imaginary, exploring hidden histories, marginalised narratives and the act of performance itself. In early March, she and Moved by the Motion made a film with the ensemble.

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How To Become A Fossil presents the DIS collective’s major new work — Everything But The World (2021, 38min)

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How To Become A Fossil presents the DIS collective’s major new work — Everything But The World (2021, 38min)

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How To Become A Fossil presents the DIS collective’s major new work — Everything But The World (2021, 38min) with a site-specific installation and outdoor sculpture.

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makkelijker programma om muziek/beats mee te maken

afgekeurd

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No time to delve into the big and serious music apps?
PixiTracker is what you need! It is a simple and fun tool to quickly create musical sketches, chiptunes and sound experiments. Without requiring a lot of musical knowledge! And it is free for most of the systems, except the Android and iOS.

Key features:

intuitive interface;

pattern-based sequencer (tracker) with high quality sampler;

several packs with unique sounds;

sound recorder (from microphone or line-in);

MIDI keyboard support;

WAV export/import;

export to XM (eXtended Module of the FastTracker2) - this file can be loaded by any modern music tracker/player (for example, SunVox);

supported systems:

Windows (2000+);

macOS (10.9+);

Linux (x86, x86_64, ARM (Raspberry Pi, PocketCHIP, etc.), ARM64 (PINE64, etc.));

iOS (9.0+);

Android (4.1+);

supported sound systems: ASIO, DirectSound, MME, ALSA, OSS, JACK, Audiobus, IAA;

PixiTracker player is open source, so you can freely use it in your own Pixilang applications.

There are two versions of PixiTracker: 16Bit (high quality) and retro-style 1Bit (like on old computers).

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No time to delve into the big and serious music apps? PixiTracker is what you need! It is a simple and fun tool to quickly create musical sketches, chiptunes and sound experiments. Without requiring a lot of musical knowledge! And it is free for most of the systems, except the Android and iOS.

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Muziek/soundtracks maken, mixen en matchen

afgekeurd

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Create, master, release.
All in one, all inside FL Studio.

Get unlimited samples, loops, and one-shots, AI-powered mastering, and digital music distribution, taking you from idea to release.

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Create, master, release.All in one, all inside FL Studio. Get unlimited samples, loops, and one-shots, AI-powered mastering, and digital music distribution, taking you from idea to release.

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persoonlijke ervaring, iedereen helpt mee tot opbouwen van iets nieuws, maar zelfde. meteen bespreken in groep.

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teken Merkaba op de grond met krijt
nodig mensen uit om items te plaatsen
'samen de tafel/altaar dekken'

- items met persoonlijke betekenis / associaties
- meer bonding tijdens opdekken dan tijdens eten

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NICE AND STRAIGHT
is it some devil that crawls inside of you? - ricky eat acid [dreamy sweet ballet girl]
along the canal - tangerine dream [alice in wonderland, discorvering more and the start of doubt]

BREAKDOWN
falling - instupendo (1st 10 sec) [the mirror breaking, this isnt real or all]
eric - mitski (sola la guitarra) [doubts, failure, guilt and shame]

RITUAL
beware of the friendly stranger - boards of canada [odd, ritualistic, alien]