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ISSN: 1352-8165 (Print) 1469-9990 (Online) Journal homepage: https://www.tandfonline.com/loi/rprs20

RE-RECEIVED IDEAS A GENERATIVE DICTIONARY FOR RESEARCH ON RESEARCH

To cite this article: (2006) RE-RECEIVED IDEAS, Performance Research, 11:2, 123-136, DOI: 10.1080/13528160600812125 To link to this article: https://doi.org/10.1080/13528160600812125

Published online: 11 Mar 2010.

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re-received ideas a generative dictionary for research on research

part two*

Compiled by Gwen Allen, Iain Kerr and Chris Thompson with contributions from: ‘funmi Adewole (‘fA); Rosanne Alstadt (RA); Christina Bechstein (CB); Gavin Butt (GB); Jessica Chalmers (JC); Shea Craig (SC); Ken Friedman (KF); Adrian Herrman (AH); Mary Jane Jacobs (MJJ); Kanarinka (K); Hiroko Kikuchi (HK); Bengt af Klintberg, (BK); Alison Knowles (AK); (SL); Kevin Mount (KM); Filip Noterdaeme (FN); Hans Ulrich Obrist (HUO); Stan Pipkin (SP); William Pope.L (WP.L); Craig Saper (CS); Spurse (S); J. Walker Tufts (JWT); Louwrien Weijers (LW)

* See PART ONE in Performance Research Vol. 11, No. 1 ‘Made to Order’ (March 2006), pp. 54–59. An expanded on-line version of the Dictionary will be available on www.performance-research.net (Autumn 2006).

123 Performance Research 11(2), pp.123–136 © Taylor & Francis Ltd 2006 DOI: 10.1080/13528160600812125 16rPRS1102_Dictionary (KM) 10/8/06 3:22 pm Page 124

Absence African art

African art can be defined as such if the person A who made it was African, whether it looks African A X ai = an ox head, standard size for batteries, first or not. It can be defined as African by the tech- for all entries by Hiroko word to learn (HK) niques by which it was made, or by the form it Kikuchi: Æ indicates the Absence a duration of time that one still needs to possess, especially if its formal qualities refer back process; X indicates breath (HK) to pre-colonial times. Art from the African Diaspora pronunciation (pronounce Act can also be defined as African. out loud); = indicates the Affordable The a-cultural basis of these definitions suggest process of defining and Air/space This quality of perception in the perform- that African art is defined in opposition Western meaning (HK) ance is felt. It is hard to pin down and define art, not in relation to a history of ideas, or in rela- because it floats and gives sense to what goes on. We tion to an evolving culture but in terms of it feel it like a fine wine with the meal. It can disap- difference from western aesthetics. This again is a pear in an instant. The air/space is sustained by pointed argued by a number of scholars and artists. everyone even the audience. Good vibes would be a In fact for the same reasons, many makers of such synonym for good air/space. (AK) art did not want to be considered to be African Anecdote artists but artists who were African. An-other Self-consciousness Where performance At this point on my journey, the role history plays bridges the gap between forms of distributed indi- in the organising of our lives became apparent to viduation, which take form as networks, collectives, me. The simplicity of history was revealed to be open-ended collaborations, and forms of singular untrue. History is discourse is power is control. individualities, supported by hierarchical models of From the development of curriculum to the cre- organization, is a source of constraint and freedom. ation of policies, history is involved. Perhaps the Imagine how a pack of wolves distributes their need to influence the discourse on art is what has quarry. We conceive of ourselves as Other- always in inspired a number of scholars to begin deconstruct- performative relation to an Other, yet our status in ing definitions of African art, to begin asking the world is predominantly maintained as an indi- questions such as ‘Can an African dance performed vidual – abstractly and concretely. As a group we in the theatre be considered the same as that per- perform, as individuals we perform otherwise. formed in a ritual? Does the African novel belong to Performance must be conscious across both these the same realm as oral literature? terrains. The performative question of how indi- I have since been told that this way of thinking is viduals comprise a collective and how collectives western. Western thinking deconstructs, analyses produce individuals is departure point and organiz- and categorizes everything. African thinking is ational theory. (SP) holistically. I find it difficult to broach such ques- Aristotle, (After Flaubert) poetry: Completely useless tions. I am aware however that the everyday and out of date. structure: (See erection: said definitions we find on African dance have come only of monuments.) plot: The heart of any play. about both as a result of racist ideas of black people poem: (See greek: Whatever one cannot under- having no history and as a result of certain stand is Greek.) number: (See obscenity All Africanist Ideologies that sought to position scientific words derived from Greek and Latin con- African arts out of the reach of western contamina- ceal an obscenity.) nature: How beautiful Nature is! tion. Whatever the case, I remain convinced that Say this every time you are in the country. parts: story telling is as important to contemporary ‘Shameful’ to some, ‘natural’ to others. order: How African societies as it was to traditional ones. many crimes are committed in thy name! (See lib- Lately I have begun thinking however expensive erty.) principles: Always ‘fundamental’. Nobody it is to write an art history, disseminate it and pro- can tell their nature or number; no matter, they are mote. Western art histories seems to have been sacred all the same. (K) written before the time market forces, multi- Art, African The study of African art for me has been a cultural policies and funding criteria had such an journey of bafflement, chaos and demystification impact on the generation of theory. Perhaps the and infinite possibilities. I sought to study this sub- desire to create narratives in the way western art ject from a historical perspective, to find out how it historians have created narratives is un-African. has developed through time. This search leads me to Africa is not in the position economically to tell its a liminal space. stories in this manner. There are various ways to It seems the definitions of African art, of African tell stories however and they are emerging. The dance; African visual art, African drama, and histories of contemporary African arts are emerg- African literature discourage the writing of ing from that luminal space. (‘fA) histories. Some good art history has been written Article © ®∑ (HK) but in relation to the amount of art produced it is Artifact minis cal and not widely distributed or taught. I Artist an echo of the society (HK) found many descriptions of African art and lists of Audience everyone and anyone (HK) criteria with which I could judge whether an object Author in theater, compliment the director by invok- or a performance was African or not. But very few ing the ‘death of the author.’ (JC) narratives.

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Balance Computer

Computer it has its own mind (HK) B Conceptual B X bee = originally the shape of a mother’s breasts Constraint See constraints as the engine of creation (HK) and thus freedom. Multiply constraints (S) Balance Like light, sound, and silence, balance is a Conversation May I come back tomorrow and work quality that may occur but can’t be taken for with you to build the boat? Where did you learn to granted. (AK) raise chickens? May I come back in the spring for Bathroom a lover (HK) carrot harvesting? Would you like to eat with me? Beginning far beyond your reach (HK) Who does the land belong to? What would my Behavior Observe this behavior: Hiccupping at regu- grandmother think if I’d ask her this question in lar intervals. Hopping every tenth step. Closing one front of her farmhouse? What would my father eye before crossing the street. Distribute truths think if I’d ask him this question while he was only if you think they will be made false. Greet stocking shelves? Can my actions as an artist be a friends in a consistently ineluctable language. catalyst for something good? (CB) Don’t give up. Develop an ear infection when listen- Copy it is like trying to put your own palms together ing. (S) (HK) Being being able to rewind live TV. It is this that I think will fundamentally change the way we look at things in a way that being able to do this with D movies did not. Movies were not ‘real’ time the way D X dee = a sound to describe a comedy (HK) reality TV or the news purports to be. (AH) Decide Decide what to do after it’s done. Defend ideas Boredom : see Appendix (CS) you don’t know anything about. But don’t litigate. Boundaries a method to create shapes (HK) When asked for something finished, construct ero- Box ® X = ? (HK) sion. In all library books read, add an ‘s’ at the beginning of all instances of the word ‘he’, then return books into circulation. Serve food that is C well prepared, thoughtful, nutritious and incom- C X cee = Sea (HK) plete. Add these disjunctive incompletes together. Calls Arrange yourself by color – but not along color Canto 1 (If You Catch Sight of a Friend in the lines. Fall asleep. Wrap a gift in a gift. Surround Distance): If you catch sight of a friend in the dis- yourself with imperfections. Don’t fix them. Let tance: go towards him calling out loudly. Let the cream in coffee mature. Carry an empty book of calls ring out. Answer his calls. Develop the struc- addresses. Ask someone for their address. Ask a tures of his calls. Desirable development: from very question and refuse to understand the answers. simple to very complex calls. (Can be performed in Hide yourself, then find a way out. Make a list and public libraries, lecture halls, churches, central sta- complete from the bottom up. Always begin the lat- tions, civil service departments and in outdoor est entry. (S) places under an immense blue sky.) Develop/decay Every good work is alive somewhere, Canto 2 (Stage Version of Canto 1): At the beginning never lost. It’s the people who may disappear. (AK) of the piece one performer stands in the left back see figure X.8 corner, the other in the right back corner of the Dialogue highlights the division hall. Calling out loudly to each other, they advance between the performer and audience, a reflection of toward the stage. Desirable development: from sim- the subject object divide. Agency stands in a tall ple calls to very complex calls. The piece is over hierarchy. The artist, chief agent, passes actions when they meet on the stage. down to the viewer, perhaps manipulating and Canto 6 (Letter): Open an empty envelope with both breathing life into objects in the process. But if we hands and talk loudly into it. Then close the enve- disregard the construct of the subject/object divide lope quickly and post it to anyone whom it may and allow all things into a network of distributed concern. (December 1965 - June 1966). (BK) agency, a babble of voices, borders dissolve, smug- Cat glers evolve, and the perfomance is replaced by Ceremonial intersections, an endless dialogue. (JWT) Chance after the John Cage class at the New School in Difference distinguishing similarities (HK) 1959, chance operations and indeterminacy Dinner In contemporary life, a performance involving became the structural basis of Fluxus. (AK see fig- immense interconnected chains of culinary edu- ure overleaf) cation, transnational infrastructure, physics, Change a keyword (HK) chemistry, agrarian production, economics, ‘his- Cheese an indication of art openings and receptions tory’, indulgence, desire, past climatic patterns, (HK) pedological conditions, social mores, nutritional Colonial concerns, convenience, etc. A prime figure in every- Communication one of the most difficult elements day performance. (SC) for human relationships (HK) Disorder nothing to brag about, but something to talk Composition about (HK)

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Diversity Fragment

Diversity edge becomes mundane, insipid, and ubiquitous. Do expose what you have (HK) Now art schools and museums look to conceptual Documentation everything for performance art (HK) languages, while the efficiency model brings invis- Duration The content of the piece determines its ible naturalized mapping to the masses. Links, duration. Specified or not, this element is predeter- navigation, clean design, and superhighways fill mined by a ‘leader’ or the group beforehand. The spaces of everyday life. The bureaucratic fantasy situation offered by the place is a factor, but dura- becomes complete in forms that follow the tion is the decision of the ‘leader.’ The audience intended function, but a residue still signifies must feel this. Many and event scores beyond its navigational function. What secret con- have no specified duration. (AK) notations hide in this mass modernism? The logic Duration the fact that can be anything (HK) of instructions, forms, and responsive links bends around to look more like a conceptual art that exposes the silly fantasy of pure meaningless navi- E gation and intentional function. The function E X e = a first step to smile (HK) follows the forms as the design never returns to a Elements of performance, see also: Air/space; single original function. Three Cheers for forms! (CS) Balance; Chance; Develop/decay; Duration; Freedom What would you do if you have it? (HK) Interaction; Light; Ordinary/extraordinary; Future(s) The future will be chrome (Rirkrit * Precision; Process; Sound/silence; Stature (AK*) Tiravanija). The future will be curved (Olafur Alison Knowles’s, Embodiment Eliasson). The future will be ‘in the name of the Elements of Performance Embody Something women do to ideas. (JC) future’ (anri sala). The future will be so subjective will appear in Ending a beginning of laughter (HK) (Tino Sehgal). The future will be bouclette (douglas Performance Research, Endurance gordon). The future will be curious (Nico Dockx). Vol. 11, No. 3 ‘Lexicon’ Entertainment a value system that defines your per- The future will be obsolete (tacita dean). The future (September, 2006) sonal value (HK) will be asymmetric (Pedro Reyes). The future will be Environment a slap in the face (cao fei). The future will be Essentialism To be deployed only when absolutely delayed (Loris Greaud). The future does not exist necessary. (JC) but in snapshots (Philippe Parreno). The future will Event Sell intangibles. Duck tape hand to foot. Duck be tropical (Dominique Gonzalez-foerster). Future? tape someone else’s hand inside your mouth. Go ...you must be mistaken (Trisha Donnelly). The through a regular day like this – let it change you. future will be overgrown and decayed (Simryn Gill). Eat piece of own flesh. (S) The future will be tense (John Baldessari). Zukunft Events Mute event: Don’t speak for a day. Continue ist lecker (Hans-peter Feldmann). Zukunft ist this the next day. Let ideas sleep. Work towards wichtiger als freizeit helmut kohl (proposed by someone else’s goal. Look at every piece of paper. Carsten Höller). A future fueled by human waste Mutant event: Speak gibberish for a day. Media (). The future is going nowhere event: speak all text you see for a day. Treat trash as without us (Paul Chan). The future is now – the gifts. Bike event: Ride with a flat tire as long as you future is it (Doug Aitken). The future is one night, can. Use your seat as a wheel. (S) just look up (Tomas Saraceno). The future will be a remake... (Didier Fiuza Faustino). The future is F what we construct from what we remember of the F X ef = (HK) past – the present is the time of instantaneous rev- Fluids Make mobile systems with fluid connections. elation (). The future is this place Resist exclusions with an alternate strategy. (S) at a different time (Bruce Sterling). The future will Forest Events, Seven be widely reproduced and distributed (Cory Forest Event Number 1 (Winter): Walk out into a for- Doctorow). The future will be whatever we make it est when it is winter and decorate all the spruces (Jacque Fresco). The future will involve splendor with burning candles, flags, apples, glass balls and and poverty (Arto Lindsay). The future is uncertain tinsel strings. because it will be what we make it (Immanuel Forest Event Number 2: Walk out into a forest a Wallerstein). The future is waiting - the future will wrap some drab trees, or yourself, in tinsel. be self-organized (raqs media collective). Dum Forest Event Number 3: Climb up to a treetop with a spero/while I breathe, I hope (Nancy Spero). This is saw. Saw through the whole tree-trunk from the top not the future (Jordan Wolfson). The future is a right down to the root. dog/l’avenir c’est la femme (Jacques Herzog & Forest Event Number 4 (Danger Music for Henning Pierre De Meuron). On its way; it was here yesterday Christiansen): Climb up into a tree. Saw off the (hreinn fridfinnsson). The future will be an arm- branch you sit upon. chair strategist, the future will be like no snow on Forest Event Number 6: Walk out of your house. the broken bridge (Yang Fudong). The future always Walk to the forest. Walk into the forest. (1966). (BK) flies in under the radar (). suture that Form(s) Forms Follows Function and Vice Versa? Great future (Peter Doig). ‘To-morrow, and to-morrow, and success in art and design appears when the cutting to-morrow’ (Shakespeare/Richard Hamilton). The

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Future Habit

future is overrated (Cerith Wyn Evans). Futuro = $B!g(B (Hector Zamorra). The future is a large phar- H macy with a memory deficit (David Askevold). The H X aitch = (HK) future will be bamboo (Tay Kheng Soon). The future Habit it is something that is hard to break (HK) will be ousss (Koo Jeong-A). the future will Hermit one who performs identity only for himself. be...grains, particles & bits. the future will be ..rip- (SC) ples, waves & flow. the future will be ...mix, swarms, Hold one of the most intimate human gestures (HK) multitudes. the future will be ...the future we Home This is where your spirit belongs. (HK) deserve but with some surprises, if only some of us House This is where your body lives. (HK) take notice. (). In the future...the earth Household used to hold more people, but has lost its as a weapon... (Allora&Calzadilla). the future is our charm (HK) excuse. (Joseph Grigely and Amy Vogel). The future Hydrogenation (AH) will be repeated. (Marlene Dumas). Ok, ok i’ll tell you about the future; but i am very busy right now; give me a couple of days more to finish some things and I I X i = I (HK) i’ll get back to you. (Jimmie Durham). Future is Ice Some days after the break-up of the ice, one can instant (Yung Ho Chang). ‘The future is not.’ (Zaha find large ice sheets floating in the northern creeks Hadid). the future is private (Anton Vidokle). The of the lakes. Lifted up in the air, these half-melted future will be layered and inconsistent (Liam sheets will often show an extraordinary beauty. Gillick). The future is a piano wire in a pussy power- There are holes in most of them, which makes it ing something important (Matthew Ronay). in the possible to hang them on dry spruce-branches. Go future perhaps there will be no past (Daniel up one morning and decorate the forest with ice Birnbaum). The future was (Julieta Aranda). the and let the opening start soon after. There should future is menace (). The future be a number for each piece of ice. The opening is a forget-me-not (Molly Nesbit). the future is a guests are served sherry. (1965). ( BK) knowing exchange of glances (Sarah Morris). the Iconic future: Scratching on things I could disavow. (Walid Idea(s) something you find in a lost and found box. Raad). the future is our own wishful thinking. (Liu (HK) Ding). le futur est un étoilement (Edouard Glissant). Identity a notion of oneself as an identifiable unity, the future is now (Maurizio Cattelan). the future has arising through the habitual awareness of past and a silver lining (Thomas Demand). the future is now future selves. The body’s performance of its past and here (Yona Friedman). the future? see you there! as artists we want to help to form our and future states. (SC) tomorrows. we have always believed in the In(Di)Visible The everyday refuses itself. How do we past, present and future. its going to be mar- make the invisible (the everyday) visible and keep it vellous. long live the future with lots of invisible. Add the indivisible. There is no place for commentary, yet new forms of critique must arise. love always and always Gilbert & George. The If we abandon the centralizing concept of the the- future is without you (Damien Hirst). the future is a ater, a new definition of audience is required. More poster (M/M). We have repeated the future out of than street theater, we must find a way to stay both existence (Tom McCarthy). The future has two large inside the everyday as a way of generating new *FUTURE(S) compiled by beautiful eyes. (Jonas Mekas). (HUO)* forms of practices, while stepping outside of the Hans Ulrich Obrist. everyday, as a way to sublimate cultural critique G into cultural production. This is both invisible and G X gee = (HK) indivisibly linked. Recall the Bureau of Land General Economy Enter the general economy as Reclamation. For example, the guerilla ladder excess. Internalize those things that you are installation. The performative part of this project expected to externalize. Issue your own parking does not rely on the relationship between the per- tickets. Develop, in some format, ideas towards the former and the audience, in fact must reverse the gratuitous. Look over your shoulder only if there is a roles in order to make accessible the particular caterpillar there. Produce a set of stamps: Stamp at form of cultural production that the ladders sup- will: currency, library books, whatever. And then port. If for a moment, the project is labeled art, the return to the world. Make additions, that while very cooperative performance becomes jeopardized, and small, change everything. Discover echoes where the piece must then overcome the more intransi- there is no surface – be active in their discovery. gent impasse conceptual art presents. (SP) Think what they are doing in the arctic right now – Instructions Leave instructions for those who can’t and then do it. (S) read (include yourself in this category). (S) Generation layers of lines. Scribbles (HK) Insurance a quality that never comes with perform- Gift a representation of the current economy (HK) ance art (HK) Global a constant circular (HK) Interaction Interaction with the audience is a delicate issue and achieved with only the most easily per- ceived and straightforward engagements. Many

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Intersections Museum

performers/artists do not engage with the audience Museum, Homeless The Homeless Museum (HoMu) is directly. This is fine. Interaction with the audience primarily a conceptual art project that presents keeps a performance open, full of good air/space itself as a legitimate cultural institution. Not to be and experimental. Balance, however, may be mistaken for an anthropological museum about the thrown off, which could be fun! (AK) homeless or homelessness, it was initiated by New Intersections: see Appendix (KF) York-based Belgian artist Filip Noterdaeme as a reaction to the infiltration of the cultural sector by corporate business tactics and morals in a society J that lacks social responsibility, exemplified by New J X jay = (HK) York City’s inability to prevent the steady rise of Juxtaposition homelessness. For the first year of its inception in early 2002, HoMu existed primarily online K (www.homeless museum.org) and through docu- K X kay = (HK) ments such as letters sent to other museums and Key Æ X = an object of reassurance (HK) business corporations. In 2003, HoMu’s $0.00 Kitchen an universal term to portray human relation- Collection and video series were shown for the first ships. (HK) time in a vacant artist’s studio in Chelsea, New York. In 2005, Noterdaeme created HoMu BKLYN, a L mock museum ‘housed’ in his two-bedroom rental L X el = (HK) apartment in Brooklyn. (FN) (see note overleaf) Lettuce Music for Sten Hanson: the piece requires Music that’s performance too. (JC) two performers, a head of lettuce on a music rack, a whistle and a small charge of explosive. Short sig- N nals on whistle. Head of lettuce explodes: A green N X en = (HK) rain. Long signal on whistle. (1963). (BK) Nature (1) Nature has only one definition – that which Library Stacks place for sexual encounters. (JC) cannot be refused. Include all, both one at a time Light: whom ever is in charge of the light is an import- and simultaneously. Don’t problematize the status ant guy. It is in the same realm as sound and of nature – assume everything is nature – take this silence. (AK) as an invitation to experiment – do so. (Invent Living a choice that everyone is given despite the forms of experimental caution). (S) length (HK) Nature (2) ® X = wish that one can control it (HK) Nein see illustration below (WP.L) M M X em = (HK) O Market a field of desire (HK) O X o = (HK) Mediation What TV does to the real. (JC) Orange Event Medium Orange Event 4: Peel an orange carefully and place Memory a process of animating and capturing the pigs here and there in the apartment. Eat them reality, a process of forgetting (HK) when you happen to pass. Mirror a device that sends signals, which often Orange Event 8 (for Pi Lind): Eat an orange as if it should be avoided and/or ignored (HK) were an apple. (Hold it, unpeeled, between forefin- Mis-appro-proposition It is the chess boxing league. ger, middle finger and thumb, bite big mouthfuls, What began as a performance art piece in Germany etc.) is now a burgeoning sports league. The exploitable Orange Event 12 (for Staffan Olzon): Fill all the weakness of capitalism is in its structural pre- drawers of a chest to the brim with oranges and dictability. If Professional Boxing- becoming depart for another part of the world. -Nascar-becoming-Bullriding can produce a space Orange Event 20: Paint an orange white and place it for chess-boxing, what else other appropriations together with other oranges in a white bowl. can we propose? (SP) Orange Event 24: Stay for a long time in a room in Motion The performance of kinetic excitation on bod- which there is silence. Breathe silently, move ies, both physical and abstract. (SC) silently if you move. At a time that you choose your- Mould The hot summer is the best season. At various self, crack a nut. (1963-1965). (BK) times one puts old pieces of bread into a number of Order stilled water (HK) breadboxes in gay colors. Let them stand with Ordinary/extraordinary Sometimes the extraordi- closed lids for some time. Now and then one checks nary happens out of the blue, just when everything how the mould is developing. At an interesting and was thought to proceed in an ordinary way. beautiful phase, one makes an exhibition. Have a Performance art is based on expectation. (AK) number for each box. Instead of sherry, serve vin rosé. (1963). (BK)

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Participation Performance

meaning. Thus we begin. Our intent is ultimately P empty itself, our purpose simply a vehicle, we await P X pee = (HK) the conclusions/collusions of those that we invite Party Event Send invitations to all your friends – into our hollows. this invitation transcends the except one – with the following: green party green human – allowing agency to be distributed as clothes. And to one person: red party red clothes. widely as possible. Whether we invite others to act (1967). (BK) both within themselves and within a given space or Performance (1): transformative, not live (Shirin, if we invite a given space to act within us the spec- Sooja) … transporting, continuously live (Suzanne, tators – it is all left to yet another outside force. Morgan) ... transforming, women’s energy. (MJJ); (2) Weakness only weakness – no refusals – only The invigoration of at least two terms, the enact- weakness in the face of any development. ment of a relationship. May be incorporeal as well as Vascularization ferments. Our invitation conspires tangible, virtual, or actual. Some performance neither the didactic nor vicarious, rather spec- involves greater amounts of subjective intensity and tators participate in the same imaginative space we awareness (see theatrical). Performance may also be seek to open, apart from us, but in collusion. (a new unconscious activity, or the vitalization of a relation collective – a new multiplication of ontologies – het- between inanimate objects. (SC); (3), Notes on erologies disseminate). The performers and (Provisional) If we are (to have a purpose) – and we spectators are bound together in a space precari- (do not) have one – then perhaps that purpose is to ously held open. We (this underdetermined we), the (breach an opening filled with) wonder – understand performers (which is whom?), remake ourselves this statement three ways. Rending hollow, then cap- bodies without organs while the spectators in their turing – wonderfully or otherwise – the expectations imagination (themselves bodily embodied) consist the spectator seeks (this an open question) will sat- a space without organs. that is to say things begin isfy our purpose, leaving the meaning alone for to spill and we begin to slip. Tense play collapses others to bring together – it is never a question of a the space into itself. Wonder doesn’t resolve itself; lack of meaning but always a question of too much nor does it wander ethereally. It is stitched and tan-

Museum, Homeless (an interview with the Director): in NY in 1974 (I Like America and America Likes Me). DI What happens when people first encounter you in Florence is positioned in front of a microphone in the bed? bedroom. It’s connected to an amplified, hidden tape FN Most people behave as if I had caught them prying recorder, which I can activate at will to ‘make her into my private life. All of a sudden, they realize they speak.’ are being watched. It is actually a fascinating moment DI What do you have Florence say? to observe, because it makes you realize just how pow- FN I have original tapings from an Early Nineties’ con- erful our sense of privacy really is. Basically, people ference focusing on the legacy of , and I don’t want to intrude. I quickly dissolve their discom- clipped short bits from it for Florence’s tape, such as fort by welcoming them and striking up a Lawrence Weiner’s statement ‘There is nobody walking conversation. I behave as if receiving people in bed is away clean in this world any longer’ and Huston the most normal thing, and what started out as an Smith’s comment ‘We’re a flawed species!’ awkward situation soon becomes an intimate moment DI You once told me of the experience that inspired among strangers. you to receive visitors in bed in the first place. Tell us DI Tell us about some memorable moments. about it. FN I once had the privilege of watching a young FN A few years ago, I had a long meeting with the direc- mother breast-feed her kid and perform a diaper tor of the Guggenheim Museum, Thomas Krens. The change while we had a conversation about HoMu’s meeting took place in his office, and throughout it, his Outreach Program. Of course, I had to have my picture feet were literally in my face, firmly planted on his taken with the baby! A Polish reporter once joined me desk. I couldn’t quite tell if this was a sign that he was in bed for a filmed interview. Most of the time, comfortable, or being ‘cool,’ or if it was an odd power though, visitors just sit around my bed and we talk game. Either way, in his case, he was clearly in control, about art and the state of the museum world today. I ‘the Boss.’ So I decided that at HoMu, I would create an encourage them to debate what we are to think of a even more ambiguous set-up. society whose major cultural institutions claim ethi- I appear to be doing nothing, to be weak (as in ‘tired’), cal integrity while deliberately excluding low-income but it’s just a pose. Some people link it to a form of citizens. To lighten up some of the more serious con- political resistance, and we laugh about John Lennon versations, I blow soap bubbles out of my pipe or have and ’s much publicized ‘bed-in for peace.’ Florence, our ‘Director of Public Reactions’’ interrupt Others view it as satire: I am mocking the image of the us with a comment. ‘hard-working’ and ‘committed’ museum director. Still, DI We should mention that Florence is a taxidermy others relate the act directly to the theme of homeless- coyote. ness. They understand that for the homeless there is FN I always introduce her as the ‘great granddaugh- no private space: anyone can intrude upon their lives at ter’ of the coyote Joseph Beuys used in a performance any moment. (FN)

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Performance Art Performance Art

gled, with tentative and persistent hands – to an performance was not only about the body but also idea of itself – itself creative of its own othernesses. about politics (see Ablutions, on rape, by myself, Performance is the action of water and ice, in a Aviva Rahmani, Sandra Orgel and Judy Chicago for freeze thaw gambol, that in the end carries with it an early example of feminist performance). In the slow inevitable unpredictable common future many performances gender themes (happily for me, of gravity. (S) a young feminist) were apparent, because it was Performance Art, Thoughts For one who began as a clear early on that here was an art form capable of performance artist–Los Angeles in the early 1970s, both describing and enacting gender, as well as a it is curious to see how definitions have crystal- place where women stood on equal professional lized around a term that initially meant the footing with men (there was little to protect in the opposite of specificity. Performance Art’s coming beginning, although today a place in history is at of age in Los Angeles was part of the outsider poli- stake). I was intent on formulating feminist com- tics of west coast art itself, a platform for munity and the place of performance, and so redefining and shaking up the temples of art. The brought many performance artists to The Woman’s term was a handy catchall for things not easily Building in a series of conferences and exhibitions recognizable as other forms of art. It was applied to from 1974 onward. almost anything that involved the body and was not Yvonne Rainer, , Martha Wilson, Betsy painting, sculpture, theater, video or dance (though Damon, Lynn Hershman, Ulrike Rosenbach, Bonnie it might involve any of these). Performance Sherk, , Newton and Helen Harrison, described the inventiveness of visual art, with ref- , Adrian Piper, Barbara Smith, erences from theater perhaps, but in actuality , Susan Mogul, Pauline Oliveros, building on conceptual art, identity politics, and Willoughby Sharp and Lowell Darling (among oth- art as life. ers) performed at the Building in the 70s. Linda At California Institute of the Arts, bouncing Burnham developed High Performance magazine between , Judy Chicago and John Bal- and in it we all interviewed each other. Perfor- dassari, reading Fluxus and Happenings texts in a mance artists formed camaraderie with each other library with the best historical collections of both around the world; there were not many of us who performance art’s precursors and Walt Disney’s practiced only in this media, and while we were Scrooge McDuck (that avatar of capitalist comic different we shared similar dilemmas, including book performativity), we understood performance our relationship to the world of museums and col- art as a form of experimentation akin to conceptual lectors, the peripatetic nature of our work, our art but including the activity of at least one body; it constant engagement with form, our ideas part of was a term that encompassed it all, including mono- or prescient of popular culture themes, the impact logues and theatrical spectacle on traditional stages, of our work on our bodies and psyches, and the protests and guerilla actions in the streets, body ethics of our practices. We socialized by attending acts, heroic gestures, and community organizing. each other’s performances, interested above all else Early performance in Los Angeles was the electri- in the new and uncharted character of our col- fying Story of a Woman Who, as Yvonne Rainer leagues’ thinking. vacuumed a proscenium stage in Pasadena; the When we wanted to act within the body politic, it hypnotic two-step by Danny Negrin balancing a two was a short step from our venues in the warehouses by four beam as a repetitive dance at UCLA; and an and alternative galleries of downtown Los Angles all night movement and sound event from CalArts into public spaces. This step was propelled by an faculty Simone Forti and student Charlemagne interest in audience and a desire for activism, but it Palestine. Yes, these looked like theater and neces- was also an inquiry into the possibilities and limits sitated some level of performative skill, but others of art, one supported by the theories of Allan – heartfelt skits such as those at Woman-house, Kaprow. No one questioned it when I termed Three used by Judy Chicago as a pedagogic tool and by Weeks in May – a three-week activist work sur- young artists like Laurel Klick (Suicide Piece) to rounding an installation with a ritual performative exorcise the past – were also considered perform- component – a ‘performance.’ When we applied ance art, so open-ended was the term. Artists like media theory to move our works deeper into public Eleanor Antin inhabited fantasy worlds over life and critique media itself, as in ’s months, even years and subjected Media Burn or mine and Leslie Labowitz’ In herself to conditions, like being blindfolded, for Mourning and In Rage, performance art was a term long periods of time. Actions with and upon the that connected the act, the media, the audience, body--work like Barbara Smith’s Feed Me and her and the politics into a whole. Our terminology slid lengthy mediations (one including an all night sex- back and forth between ‘projects’ such as Newton ual encounter in a gallery) manifested markings and Helen Harrison’s Lagoon Cycle to ‘perform- and carvings and eatings and shootings and mas- ance’ (their readings in the voice of the Lagoon turbations. Maker and the Witness were a performative con- Perhaps because of the regional interest in anti- struct). We framed our investigations as war, feminist and ethnic politics, women’s performance, such as ’s Big Truck,

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Performance Art Precision

where acquiring, repairing, and storing the truck want to be talked to can sit down. Do this in every was as important as driving it. In the Prostitution city all over the world. (1967). (BK) Notes, a several-month record of my attempts to Precision in the idea and then transmitted to real understand ‘the Life’ of prostitution in Los Angeles, time. (AK) my journeys were recorded as map drawings, ones I Process Working through a process means the materi- call performance remnants. In today’s heated art als are understood and allowed to develop with market it is hard not to regard these remnants as the intelligence and intuition in every direction. (AK) work itself, difficult to explain our position on tran- Programs develop a program and leave it on the bus. sient objects–they were not the art but merely (S) representations of it. Public Intellectual speak of with wistful enthusiasm. Throughout the 1980s, the field seemed to divide (JC) into (1) the theatrical (world of monologues and staged events, more and more sophisticated as with Goat Alley or Anna Deveare Smith); (2) the body- Q based action, as with Marina Abramovic; (3) the Q X cue = (HK) action-focused exhibition, reminiscent of the Quality an unmeasurable matter (HK) Happenings, as in Rirkrit Tiravanija’s work, and (4) Quantity a definition of super-sizing (HK) the public performance--often-political ideas Questioning a beginning of answering (HK) developed and played out in unusual places. It is in this last category, one I earlier coined New Genre R Public Art, the kind of free-form experimentation R X ar = (HK) continues in the same manner as it did in perform- Research Refer to any amusement as necessary for ance art’s emergent era. your research. Then laugh. (JC) In this last category a variety of projects often Research How many words can you find in research? unidentifiable as art (or at least not easily exhibited) (HK) are defined sometimes by their content – ie so-called Restaurant environmental art, like that of Tim Collins and Rupture History is full of them. (JC) Reiko Goto’s Three Mile Run, or perhaps by their their location–such as John Malpede’s RFK in EKY. Here the contest of whether or not ‘this is art’ con- S tinues to be played out; here the ambiguity of the S X ess = (HK) relationship between the work and the life sur- Scale rounding it is explored; here the nature of the Self something that cannot stand alone (HK) audience is a question that goes beyond audience Seriousness I’ve been thinking about this a lot of late. development. These are some of the same themes It may seem odd for an academic theorist to do so: that marked the time when performance art was to give the subject of seriousness some serious first becoming a specialty practice rather than an thought. This is because – as the indexer to my adjunct to other kinds of art making. recent book made plain to me – ‘seriousness’ is not In this quick observation I won’t hazard a guess as really a subject, let a lone a subject of academic 1 Gavin Butt, Between to how the term that above all else described enquiry.1 It’s a value, she said, not a subject. The You and Me: Queer experimentation has become confined to what we implication being that, ironically, it’s not even Disclosures in the New know as performance today; maybe such continuing something worth being serious about. But even if York Art World ‘refinement’ is necessary or inevitable as a field seriousness falters in this way when being viewed 1948–1963, Duke matures. I still consider myself a performance as an academic subject, perhaps its location, i.e. University Press: Durham artist, though perhaps one whose singular lack of where we customarily find it, does not. At least my & London, 2005. interest in my own body/self performing, whose indexer thinks so and agreed instead to make an growth in sheer scale (400 performers, 3000 audi- entry for ‘serious culture’ in my book. It is here, in ence members), and whose attention to actual civic serious culture, that we come to appreciate what politics and impact is challenging to current defi- seriousness is commonly taken to be and the range nitions. I miss the wide-open spaces and radical of meanings we ascribe to it. In sum, and fairly gen- challenges to the art establishment that called some erally, serious culture is that which: is grave in of us to take up this mantle, but from the vantage nature; which addresses important matters – per- point of one who has worked for over thirty years as haps of life and death; is earnest and sincere in the a performance artist, until a better term comes way it addresses such issues; requires some effort along I’ll stick with this one. (SL) and attention; and which is often held in high Performance Studies Pause, grin and admit that it’s regard by the canons of aesthetic and critical true that anything might be considered perform- judgement, whose hierarchies often privilege the ance, then continue. (JC) serious at the expense of the putatively frivolous Performing an act of everyday life (HK) and trivial. Plan Against Loneliness Some yellow seats in all And this is why I’m interested in the relations parks, squares and subway trains, where people who between seriousness and queer sexuality, on the

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Shoes Surrender

one hand, and theatricality, on the other: because read the ticket: horizontally or vertically, to the both have a history of associations with the non- right or to the left. It is expedient that he keep to serious. Homosexuality has variously been viewed the chosen reading during the whole performance. as non-serious in its brush with a valorised hetero- The uncut squares indicate pauses, the squares sexuality (whether in being viewed as a phase, or as where the streetcar conductor has cut a round hole a false or unreal copy of ‘proper’ sexuality), and the indicates one beat of sound. The source of the theatrical, as Jonas Barish has argued in his mam- sound is optional. The piece is over when the last moth tome The Antitheatrical Prejudice, has been participant has become tired. Suggested sources of approached as a sign – perhaps a paradigmatic sign sound: symphony orchestra; car horns. (1965). (BK) – of non-serious, or value-less activity.2 By embrac- Surrender (1) Across a vast distance this faces you – 2 Jonas Barish, The ing these pejorative histories, and the overlap swarming towards you – looking outward your gaze Antitheatrical Prejudice between them (thinking the ‘queerness’ of the the- only confronts it – without seeing or knowing; (University of California atrical, and the ‘theatricality’ of queer sexualities (2) From a vast distance that you can no longer sep- Press, 1985). and identities as both marking a deviance from arate yourself from – a confrontation without earnest, straightforward and serious norms), I am separation or distinction – it meets your gaze); hoping to appreciate differently the value of puta- (3) As it changes you will change – becoming unrec- tively non-serious activity and thought. This is not ognizable – becoming visible – a wind from deep in order to simply revalorise, for example, flirta- within yourself pushes you out far beyond distance; tious acts and trivial thoughts as latterly ‘good’ or (4) An open hand held out beseeches – an open gaze serious, but instead to sidestep the judgemental disclaims – and then moves on – it commands of attitude and find a way to approach and inhabit you from a distance – moving; (5) That which is out- such things productively for the study of perform- side – that which is before – that which refuses ance and sexuality – to begin to think ‘the serious’ recognition pushes into you – shaping your words – outside of its received forms and understandings, shaping your movements; (6) Failing you – you fail- and to (re)receive it anew in order to queer our ing you – an identity passes by. understandings of what it, and its proprieties, might be. (GB) Shoes a marking tool (HK) T Sleep The thickening of the blood doesn’t quite reflect T X tee = (HK) for me the general state of sleep deprivation that is Tear a sign of onions (HK) so rife in our culture, particularly our creative cul- Theater (US) Act One The stage represents a room, ture. We often wear it as a badge of honor and yet it that once was a hen-house, as can still be seen from turns the human body into a weapon. A dull one some equipment, hens, eggs, and hen-shit. The where we mean to use it and a deadly one where we room is furnished in heavy Empire style. In one cor- don’t. (AH) ner are a shit-covered plastic bust of Bismarck with Sound/silence ‘The north wind has already begun to one mustache-tip broken off and a tremendously cool the pond. It took weeks of steady blowing to dry, brown Christmas tree in the other corner, dec- accomplish it, it is so deep.’ [Thoreau, Journals] (AK orated with one colored glass ball and some see figure over page) cardboard angels. Behind a sofa, an organ is Speech (1) A communicatory performance, typically vaguely visible, incessantly attacked by a boy with involving language and intent. May also be nonlin- a healthy, even rubicund look. In the middle of the guistic and unintentional (see Walk-Speech). (SC) floor, a big ice block is slowly melting. (2) it has nothing to do with what you know, but has Act Two Soft-boiled eggs and paper plates. everything to do with who you are. (HK) Act Three Same as Act One, but in the evening. The Stasis An impossible condition of ultimate rest; the whole stage seems to have turned slightly to the Cartesian figment of a body with zero relations. left. Moonlight strains in through branch-holes and Stasis serves merely as a hypothetical standard key-holes. On the Christmas tree, a dying candle is against which to measure activity. The opposite of dripping. Some springs have shot up through the performance. (SC) sofa cover, the broken-off mustache tip is clumsily Statement having it a good thing, but not very import- mended with blue modeling clay. In the distance, ant to have a life. (HK) we hear an eighteen-shot salute, but on stage, noth- Status ing happens. (1960) (BK) Stature The quality of a piece and of an artist is Theatrical, The An above-average awareness of the understood by people who carry it along, who need conditions of performance. A conscious application to carry it along. The presence of performance com- of the intellect to the nuances of the body. (SC) bines to give the work stature. (AK) Three Magic Events Streetcar, Random (music for any number of partici- 1 (to make a couple enemies): Take an egg and boil pants): One used streetcar ticket is given to each it hard and write a couple’s names on it. Then cut participant. On the cross-ruled ticket, there are the egg in two pieces and give one of the halves to a squares for day and hour, each of which indicates dog and the other half to a cat. one beat. The length of the beats is decided by each 2 (against rats in the barn): When the first load of participant, who also determines how he wants to grain is carted in, those who are standing in the

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Times Square Truth

barn ask: ‘What are you bringing here?’ ‘We are Truth If people are going to sleep under freeway over- bringing a load of cats!’ Now ask what the rats shall passes why not make them better. Vascularize have to eat. ‘Stone and bone and henbane-root.’ The everything into a new commons. Start walking. first load is brought in during as dead silence. Pass all ideas through others (fold all work through During the following loads one talks about cats all its outside). Refuse collage. Accept only transform- the time. ation or infection. Make work open to complete 3 (for white washes): At the washing, a person who change at each step of process put no limits on comes in shall say: ‘I saw a swan.’ Then the clothes authorship (use name that anyone could legiti- will be clean and white. On the other hand, the mately appropriate – spurse is to be included in this whole wash will be spoiled if he says: ‘I saw a raven.’ category – use it at will) invite anyone interested to (1965). (from Svenska Trollformer). (BK) join (invitations can never be restricted to the Times Square Where the Great White Way crosses the human – let everything invite itself). Thus allow Gridiron streets of New York. Where sin and salva- anyone to appropriate the name etc. Do not feel tion are synonymous with shows and shopping. obliged to be democratic, inclusive, or elitist. Where Google, Viacom, ABC and MTV broadcast the Embrace contradictions. Do not go back. Approach movement of media and money from headquarters everything as a multiplicity. Refuse form. Refuse on high. Where King Kong flaunts his wild side. function. Place everything on a singular plane of In this urban drama shared by tourists, com- immanence.. Become inhuman. Ignore ownership. muters and inhabitants alike, the great Distribute agency. Treat everything as a movement performances on Broadway rival the great perform- into the unknown – an experiment that is not based ances on Broadway and 47th St. It is here, among upon an already known and desired outcome. the theaters, franchise eateries, webcams, bus tour Refuse identity/representation etc. Don’t general- stands, electronics boutiques and super-sized sig- ize (no et cetera’s). (S) nage that the act of seeing is to be seen, and the act Today Performance today is very much that of yester- of being seen is captured, packaged and televised day with the difference that today’s performance without discretion. The mundane and the extraor- art has a direct art historical lineage and yester- dinary are consumed with equal measure in a city day’s did not. It is very much alive, just as history transformed simultaneously by local behaviors and itself is very much alive - regenerating from the global trends. Mapping such complexities defies all humus of past work and inserting itself into a pre- conventions of cartography, as it no longer seeks to sent context. (RA) trace stasis and servitude to the functions of urban Twentieth Century, the Make a history of the life, but rather, forces a myriad of flows to emerge Twentieth Century – take a 20th century history from their cultural, political and biophysical text, begin driving, read each paragraph – drive its domains, and impart new logic to the diagram. distance and then turn left or right forward or back These elaborate networks of distribution, com- depending on a simple analysis of the tenor of the merce, infrastructure and information – and paragraph – keep driving till book is done record – consequently, their constituencies of actors and circulate. Use everything to become otherwise – for agencies - are rendered up close and remote, scal- example a dinner from a drive: use things encoun- ing between what is easily observed and what is tered to determine a recipe – names of bodies of easily disguised. Surveillance begets camouflage water crossed become ingredients, the quantities of begets surveillance in this new adaptation of map- which are determined by route numbers inter- ping, as we trace the everyday performances of the sected, the number of ingredients determined by # city and redefine urban resilience beyond a two- of letters in first town you drive through, methods dimensional framework. Smaller increments of of cooking determined by natural landmarks etc. time reveal intricate patterns of mobility, percep- don’t cheat in the details – ask the system to answer tion and geography, and drastically alter our all questions. Generalize this to other activities. (S) expectations of feedback and performance, actor Two Flag Events 1 In Copenhagen (for Ibi) A big and onlooker, contrived and real. Depicting a 5- Danish flag is tacked to a wall. Paint the white hour aggregate in front of TGIF Restaurant is an cross yellow. Drink a Tuborg (or a Carlsberg). Paint acute yet fitting case study on this oscillation the four red squares blue. between surveillance and camouflage - or what 2 Demonstration: Arrange a demonstration march biologists might call cryptic adaptation – as it with flags. If it is a sunny day with light blue sky, belies their dichotomy and summons their nested the flags shall be light blue. If the sky is white, the associations. flags shall be white. Gray sky: gray flags. (December Trust, open-ended Remove God from US currency: 1. 1965). (BK) Carefully tear ‘god’ out of the phrase ‘in God we trust’ so it reads ‘in ______we trust’ (best done by folding bill in half through word ‘God’ and then U tearing out) 2. Collect gods and do something better U X u = (HK) with them. 3. Return the currency into circulation. Umami in order to identify Umami, it requires cul- (S) tural resonance. (HK)

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Value Zen

Williams, Emmett and Ann Noel. To: Chris Thompson V Dear Chris, Yesterday I rushed to the goats very V X vee = (HK) early. It was their day. And I rushed back, just after Value two. The goats were quite astonished why I left Valuable them so quickly. And yes, I was in time in Boekie Violent like trying to define the number 0. (HK) Woekie, just after five. There was Thora from Volume a bag of a microwavable popcorn. (HK) Iceland married to Van Gelder Gallery. Then Remko Scha came in with his new young wife Josine, fic- tion writer, and their 5 year old daughter. Remko, W who worked in the US for years, is a close friend of W X double-u = (HK) Henry Flynt and a friend of Leendert van Lagestein. Walk Walk everywhere at once. Don’t bother problema- Remko is now professor at the Universiteit van tizing nature; problematize artifice. Push it further. Amsterdam for mathematics, IT. Then Willem de Ignore other’s identities – consider only processes of Ridder came in. Fluxus artist since 1963, when individuation (listen to that drunken boat – consider came to Amsterdam to do a Fluxus self an other). Ignore the ‘out there’, the ‘in there’ event with Willem and Wim T. Schippers. Willem and the ‘down there’ – consider only collectives – a looked well, he is 66. But he told us that Emmett new nonhuman commons. Displace-ment, drift, had fallen ill that morning in Amsterdam in the invention, mediation, unknowable fluid linkages. house of Jan Vos on the Geldersekade. That Labyrinths, translations, transfusions, entangle- changed the atmosphere. Hetty Huisman came in, ments – these will move you otherwise. (S) she'll be 65 this summer. There was a group of Walking A pedestrian performance of continuously young artists from China. Lots of persons I did not controlled forward falling. Bergsonian calisthenics know. We all chatted and drank water or wine and par excellence. (SC) the evening became a wonderful event. Lots of Walk-speech A sentence, paragraph, etc, of pedestrian, details were exchanged that you otherwise don't get non-linguistic communication. The performance of to. Willem offered me a weekly radio program. It the city. A dialogue with zoning, architectural stan- was all wonderful. Thank you for sending me the dards, destination, air quality, weather, info. Lots of love, Louwrien. PS Last night I felt I construction companies, the police, concrete, and might make the above into a re-received piece, others. The negotiation of geographic tissues. (SC) which I still owe you. Or has its deadline passed long back, maybe? (LW) Work ‘What are you working on?’ Never mention your reading, as you are meant to have already read everything. (JC) Work see appendix (GI) World The world is in its detail and entirety is an invi- tation. (S) X X X ex = (HK) Y Y X wy = why? (HK) Yes an expression that life needs the most. Opposite of ‘I do not know.’ (HK) Z Z X zee = (HK) Zen an alternative life-choice, 21st Century fashion statement (HK)

Walk the plank A form of execution practised by pirates in which the victim is made to fall into the sea from a plank projected over the side of the ship, as shown here. (KM) What is to be done What does your neighbor smell like? One week with the wolf next door. (SP)

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