"Malaysia Prime Minister Mahathir Mohamad and the Sultan of Johor are seen in a blue Proton Saga... "When asked whether there is any tension with the sultan, Dr Mahathir said: “No, I don’t see anything because I went to see him and he drove me to the airport. I don’t want to comment on the sultans because if I say anything that is not good then it’s not nice because he is the sultan”"

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Sunday, December 09, 2012

A new height in sick shit

Despite all my years on the Internet, I still sometimes come across stuff that shocks even me.

This time, it is the source of this animated gif called "Oh children, it's Dinner Time":

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The highlights reel (1:17) is titled "Video WTF Of The Week":

In its full glory:

One of the videos of this... performance has the description "une bonne raison d'aimer la dance contemporaine" ("a good reason to love contemporary dance")

There seems to be another version of the dance under the same name ("(HQ) Part 1. Body Remix - Goldberg Variations, Marie Chouinard.") I haven't yet decided if it's marginally more or marginally less disturbing, but there're certainly more people onstage.

Naturally, there is an academic interpretation to all this:

The In-tensions of Extensions: Compagnie Marie Chouinard's bODY rEMIX/ gOLDBERG vARIATIONS

"This essay explores the affective intensity of movement in a recent choreography by noted French Canadian choreographer Marie Chouinard. In bODY rEMIX/ gOLDBERG vARIATIONS, dancers perform with all manners of prosthetics and bodily extensions--crutches, ski poles, coat racks, pointe shoes worn by men and women, on one or two feet or on hands--to a score that remixes Glenn Gould's recordings of the Goldberg Variations with his recorded interviews. Drawing on Gilles Deleuze, José Gil, and André Lepecki, I argue that despite its engagement with forms of extension, the use of prosthetics in Chouinard's bODY rEMIX fundamentally explores the intensive movement of affect, particularly through its engagement with suspense (as the generation of an ambiguous image in the tension between extensive and intensive movement) and the sound image. This exploration of the in-tensions of extensions, when, rather than simply extending into the world, movement develops a centrifugal force, likewise argues that the movement of affective intensity is the way in which the body activates its inherent capacity for change. Extension is a fundamental attitude of the dancing body; dancing “projects lines into the invisible” in a movement of outward intentionality. Yet that movement is always doubled and deviated by a responsive (not simply reactive) intensity of movement, a dynamic activation of the body's potential charged by the encounter that pushes against and reworks the constitution of the very bodies that compose it, a movement of a different quality whose effects cannot simply be determined by a reverse calculation from extension."

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