Choreographing the Weather — Weathering Choreography

Gerko Egert

TDR: Te Drama Review 60:2 (T230) Summer 2016. ©2016 68 New York University and the Massachusetts Institute of Technology Choreography and Weather 69 by Mette - - tudies tudies ) S

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Pulling Pulling (Transcript, (Transcript, cial cial f Arti The www.vdb.org George Kuchar’s

(ed. Brandstetter, (ed. Brandstetter, (2012), and Mette Ingvartsen’s cial Nature Project Te Project Artifcial Nature culture relations in the face - (2011), Eva Meyer-Keller’s Meyer-Keller’s Eva (2011), In her performance performance her In 1 e Future (Im-)Perfect of Melancholia(Im-)Perfect Te and Future Absolute Helligkeit (2012). Tales of the Bodyless Touching and Being Touched nonhuman, nature nonhuman, (2011) and and (2011) - e Fault Lines: Te Fault George Kuchar, courtesy ofVideo Data Bank, (ed. Czirak, Siouzouli Noulas, [Institute for Live Arts Research, Figure 2. Te stage is full of frefies. Ingvartsen. Rehearsal, Kunstencentrum BUDA, Kortrijk, Belgium, 2012. (Photo by Kerstin Schroth) © cal Nature Project Te fcal Arti Nature - - Die Scheinewerferin - - - - . (Image . (Image lls up the “pond” in the flls motel’s Te parking up lot. from rain the Still “pond” (2009) and and (2009)

Melancholy and Politics (2012), Mette Ingvartsen poses the following questions: “What does it mean to to mean it does “What questions: following the poses Ingvartsen Mette (2012), Berührungen: Bewegung, Relation und Affekt im zeitgenössischen Tanz Weather Diaries I (2012), Naoko Tanaka’s Tanaka’s Naoko (2012), ee for example choreographies like Eszter Salamon’s ee for example choreographies like Eszter Salamon’s S Strings Evaporated Landscape Alongside these questions, Alongside the these performance questions, proposes a broader engagement with ongo

1. Egert, and Zubarik [De Gruyter 2013]), “ Movement” in 2013]), and 2016). [email protected] in Performing Arts and Media, His deals Ghent research University. with contemporary dance, human and nonhuman choreographies, politicsand touch.of movement, Publications weather, include: in FOREVER” in MAYBE Touch of “Movements 1986 video Gerko Egert holds a PhD from Freie Universität Berlin and is a postdoctoral fellow at S:PAM Figure 1. (facing page) ing discussions about the shift in the human is no longer a force from Weather the of outside weather that and enters climate catastrophes. the but human instead world, becomes part of meteorological choreography that queers the quality and materiality of the the of materiality and quality nonhuman actors? ments without merely focusing focusing merely without ments on the actions or capacities of the human bodies onstage? How the change movements these do cally, or even more specifcally, ogy, How dance. of meteorology a might one describe these move it a choreography of objects; objects; of choreography a it it is a choreography of multi It ple is movements. an ecol through the movement of thou sands of pieces of silver con not is choreography This fetti. is nor choreography, human a (Ingvartsen 2012). In Ingvartsen’s Ingvartsen’s In 2012). (Ingvartsen sees barely one performance, onstage dancers human the acts upon humans? What is the the is What humans? upon acts relationship between the ani mate and the inanimate world?” make a choreography for materials where human movement is no longer the center of atten the address one can How tion? objects, force materials, of things, and matters as something that Nature Nature Project

to foreground the central position of the human body. In to more recent foreground and years, the more central choreog- position of the human body. raphers have begun to focus on nonhuman actors onstage. Dance is often seen as the art of moving human bodies. Even though nonhuman elements always always elements nonhuman though Even bodies. human moving of art the as seen often is Dance worked only they décor) stage light, (costumes, dance of staging the in role important an played 70 Gerko Egert The Project Nature Artifcial Project The Nature Artifcial decentered.radically choreographies,These then, human”are 2013:81).than (Manning “more but present still are actions human which ecological,in forces geological,meteorological and historic,of political,consist scenarios distinction.economic,weather human/nonhuman Such or a whirling storm whirling a or ever produce they confetti; the trol air and shields with selves Schroth) Kerstin of courtesy Milka Timosaari; by (Photo France,2012. Rennes, Naturefcial Arti Project oor.f whole the cover confetti silver of Mounds 3. Figure hear Eventually,not fies? does stage.one the rain,But on heavy pattering like more look they ground.the Slowly, fre perhaps size.Or in sparks? increase really lights they little Are these darkness.the Gradually,through number,to in falls increase sparks they of as shower whole a also formations of the weather.the of existed formations that landscape,also object material no no Ingold, is For there landscape.are unchangeable beach and the given on mussels,ripples pebbles,The the the and anthropologist call Timmight “weather Ingold movement,choreographies,of meteorological what ecology produce or dances,complex their in change.climate dramatic of situation These contemporary our evoke narios,that catastrophes Ingold understands the weather as more than a scenario that takes place in the frame of a of frame the in place takes that scenario a than more as weather the understands Ingold Clouds,fog, turn rain,storm and

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catastrophes in silver in catastrophes by Mette Ingvartsen. Rehearsal, Rehearsal, Ingvartsen. Mette by - blowing guns. But as they run around blowing air,blowing around run they guns.con as blowing cannot But they begins with a totally dark stage.dark Sporadically,totally a with begins glimmer fashes little - new scenarios: drifting sand,fre,drifting water,sparking scenarios: bubbling new The Project Nature Artifcial confetti. - (2011).worlds” e T fetti now resembles a soft,a white resembles now fetti foor.the on up pile confetti silver of Mounds air.the in clouds thick ing down,pour form drops mering shim anything.silver Myriad they cover up and arm them arm and up cover they world,poisoned a by threatened post a into stage the transform ers danc human the coveralls and air.the through fy sparks little of sands and,fre again,into turns thou light,red it with illuminated water.into turns fetti when But air,the in up shoots con the and blowers.leaf several fountain A of force the by rises,up stirred whom? storm moving A is Who humans.the swallows that dune wandering a into turns confetti stage.the across moving The starts and bigger and bigger gets mound,a which into bits the up landscape.Laboriously, pile they around,the confetti altering the move to try and scene the enter dancers stage.human Some whole the covering snow of layer into a series of weather sce weather of series a into The rain stops and the con the and stops rain The Dressed in protective masks protective in Dressed - apocalyptic scenario.apocalyptic if As ------Choreography and Weather 71 he as Te Artifcial Nature

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by Mette Ingvartsen. Vooruit, by Mette Ingvartsen.Vooruit, This plane of 2 ophes in silver confetti. world, a “world without objects,” “world without objects,” a world, - catastr

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cial Nature Project Te Project Artifcial Nature is a weather a is “plane of immanence of dance” (Gil 2002:124). a

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Lietaert; courtesy of Kerstin Schroth) Figure Whirling5. storm Project by Ghent,Mette Ingvartsen.Vooruit, Belgium, 2013. (Photo by Jan Figure 4. A fre rises. Ghent, Belgium, 2013. (Photo by Peter Lenaerts; courtesy of Kerstin Schroth) ------move The Artifcial Nature Project The is worlds”: - world; - the weather, the weather, world. world. We saw We world. of - - blowing, and the blowing, thunder is hilosopher Gil José of ers us a way to think the movement in dance and its relationship to the dancer’s body as Similar to the beach, Similar to the beach, P an autonomous one. Te autonomy of movement is not its independency of, but its irreducibility to the human describes as He movement something that is not acted body. out or performed by the dancers, but is terms it in to reference Deleuze and Guattari

clapping” (Ingold 2011:73). (Ingold 2011:73). clapping” 2. movement is not performed by the dancers: the neither by humans nor Rather, by confetti. as “plane movement José of is, Gil the immanence reminds of us, dance.” raindrops by the movement of falling; it transforms into sparks The by fying across the stage. mounds of confetti become as heavy as a sand dune by drifting along and the they ground, become light In as all leaves these the by material whirling confgurations, through the air. oating, of blowing, and of bubbling. The confetti becomes full and of of of movements of blowing, bubbling. of foating, raining,

of the weather and a set of actions (blowing, mov watching, fying, shining, ing) produces the choreography where one cannot differentiate between a given setting (land a number scape), of active play humans), seagulls, sun, ers (wind, sky, a weather sky, a world (131). without objects” This complex interplay of forces, ments of the sea and the birds, and “we then saw concludes: a world in in fux movement, and a world becoming, of ocean and of cosmic forces such as those He responsible for the tides.” goes on to describe the move formative processes set in train through the interplay of wind, within and a stone, feld water, the ground on which we stood was not really a supporting plat form upon which things rest but a zone of formative and trans stormy day at Ingold the beach, “weather describes the had [...] to recognize that “We wind is Standing with his students on a ment. “We are not required to “We ment. believe that the wind is a being or that that blows, thunder is the a being Rather, that claps. of movement. These These move of movement. ments are not but instead the weather prior to the weather there is only a meteorology 72 Gerko Egert The plane of movement of plane The to immanent not is movement that exceeds the human or wherein the human is more ecological than individual” than ecological more is human the wherein or human the exceeds that milieu relational a to attunes itself event the how foregrounds that practice a than human the for human the by generated is which that [...] less itself: [is] event “Choreography the of cess pro forces.the moving in of is interplay choreography the This by produced confgurations material of multitude the of part are they performance; Ingvartsen’s in position central or leged choreographer.human in ments bodies all through transversal run that movements as choreography the in nonhuman the of think one might How dancer? a by performed or choreographer a by initiated not is that choreography nonhuman about think one itself.might mobilization How that of terms mobilizes,in it but of choreography The or (human bodies distributes and moves who choreographer human a of logic object.the and nonhuman,to subject and bound of human remain second, would And it of separation the question not First,would reasons: it two for problematic be would stitution onstage.aluminum dancers,silver of however,sub pieces This small by replaced merely not are meteorology choreography.the to broader central much it a is of nor part sive are movements dancers’ The in onstage dancers human the of movement The HowChoreographthe to Weather catastrophe, but it is also a germ of order or rhythm”2003:102). or (Deleuze order of germ a also is catastrophe,it but chaos,a a indeed is forces possibilities.diagram multiple and “[t]he of tions interference the As alterations,direc suggests new and lures it movements; produces and alters event,diagram the choreographic the 2013:80).to Manning Immanent (see diagrammatic is choreography This score.fxed a in captured movements predefned of set form,a prescribed or a of reproduction the for strive not do they process.representative; the not of are ferentiation movements These weather meteorological.complex becomes movements,a choreography and of the forces part Already different currents,airfows,these fuctuations”the all 2014).and in composing (Ingvartsen By the in happening also is it but materials physical actual the and bodies place the takes “between ments,”forces,”immaterial and material “between explains.Ingvartsen as choreography This lights,gravity.and onstage”performer ele and human happens the the It “between “beyond change climate of times the in distance,weather safe but a from observed thunderstorm a of tacle weather.the materials,of of but or bodies spec of romantic choreography the a not not is This movements.other with relation in diffracting movements only time,and space in person a by arranged be can that bodies,entities preset no no are There unfolding.its of process the in event the of 2013:76).composition the is choreography This dances are meteorological: weather meteorological: are dances per the one artifcial are They movements.with movements of relations entities.multiple existing the are assemblages These already as connect not do piece Ingvartsen’s in elements the relationship, interpersonal an materialities.the relational Unlike of fux.in constantly are materialities their movement dancers, movement, especially not to the movement of one human dancer. In the weather This choreography is “more than human”: the human bodies onstage do not inhabit a privi a inhabit not do onstage bodies human the human”: is than choreography “more This

formances, — - the stage ection and a dif a and infection irreversible an creates movements of worlding,interference the The Project Nature Artifcial

; they are bodies in the process of becoming.of process the shape,in confgurations,Their bodies their are and they ;

— ow of wind, of fow the forces: human as well as nonhuman by made weather

human and nonhuman, and human

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a meteorology of many movements, many of meteorology a

— there is no center of action from which the movement starts or ends. or These starts movement the which from action of center no is there but also but

all of the human as well as the nonhuman bodies. nonhuman the as well as human the of all The traverses all traverses

natural choreographies, scenarios that can in no way be reduced to to reduced be way no in can that scenarios choreographies, natural cial Nature Project Nature Artifcial one of the particles, nor does it generate - on and beyond the stage? The meteorology of move of stage? meteorology the The beyond and on is in no way reducible to the human dancer,human the to reducible the way to no nor in is worlding choreographies. worlding elements in dance: the myriad little aluminum pieces, aluminum little myriad the dance: in elements pax de deux de pax The Project Nature Artifcial The Project Nature Artifcial , which brings together two human dancers in in dancers human two together brings , which is nonhuman not in terms of which objects which of terms in not nonhuman is human as well as nonhuman.as well as human human The The Project Nature Arti fcial emerges as an assemblage assemblage an as emerges These bodies are are bodies These one nonhuman) in space. in nonhuman)

piece of confetti. is not exclu not is the beaming the

(Manning - worlds of of worlds - - in in is the the - - -

- - - - Choreography and Weather 73 - - - - -

------as on a on as as the meteorologists ([1988] 2006:37–41). In

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The Artifcial Nature Project The Foucault es the forces immanent to dance, move emphasiz

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to analyze the fragile yet devastating unity of Only by moving with the storm and the whirl

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the dancing elements individuate differently: hustling,

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,” Deleuze emphasizes that the apparatus, as he understands Foucault, com Foucault, understands he as apparatus, the that emphasizes Deleuze ,” ’s choreographic force is an experimental attempt to move into the the into move to attempt experimental an is force choreographic ’s This would ignore the dynamics of its movements and reduce it to (1996) also know stratifying and deterritorializing Dispositif Twister both By altering its own meteorological situation,

4 re f and rain, — , the wish to gain maximum information about the tornado is subject to the phantasmatic goal human as well as nonhuman.

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6 Twister storm,

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ith the notion of haecceity, Deleuze and Guattari describe ith the the modes notion of of individuation haecceity, that difer from that of a eleuze describes subjectifcation not as something reduced to the human but rather as an individuation of an or more on of the the diagram side” apparatus, as see the Deleuze’s “other n the flm ground ground the relational dynamic of the modes weather’s of individuation. W a date have a an perfecthour, individuality a lacking summer, season, noth a person, winter, thing, or subject: “A ing, even though this individuality is diferent from that of a thing or a subject. [...] Climate, wind, season, hour are not of another nature than the things, animals, or people that populate them, follow them, sleep and awaken (1987:261, 263). within them” ity” (2007:347).ity” André Lepecki has conceptualized choreographyposing of asthe capture,” “apparatus concept in opposition to dance:once “dance, it falls prey toloses a powerful apparatus of capture called ‘choreography,’ many of its possibilities of (2007:122). becoming” Tis notion of the double-sidedness of choreography as appa ratus and diagram ment, and choreography. I to dominate the weather and build a better warning system. Te techniques used to with move the tornado fore D even event: anythingfcation“Subjecti it’s a isn’t specito fc do or with collectivea individuation‘person’: relating not a a wind, personal a (1995:98–99). a subject” mode life). to a of It’s an river, intensity, event (a time of day, F his short text “What is a prises of two diferent groups of lines: “lines of stratifcation or sedimentation, lines of actualization or creativ The Artifcial Nature Project The The operations of the apparatus cannot be reduced to just a single mode: the apparatus of Without reducing the Without notion of choreography to the repression of free and primal move

5. 6. 4. 3. to measure its speed, its pressure, to and measure its its its pressure, radius. speed, the precarious The moment diffcult of task a is metastable not swirl. in Jan de Bont’s flm the twister from the outside. the central Instead, problem its is form. to get into the funnel of to the move tornado, with it, a given entity but a process a of movement becoming, of individuation turning towards itself. Individuation takes place in the turbulent spinning of It the is whirlwind. the movement going and the relation of centrifugal faster and in and centripetal circles, faster, forces that produces also calls for a different mode Subjectifcation of is fcation. subjecti not based on the subject as the human dancers as well as of the silver confetti. In the choreographies of the different weather weather different the of choreographies the In confetti. silver the of as well as dancers human the scenarios in as buzzing, nervously or afternoon; summer a on hot as languishing, morning; winter freezing storm, to move with the storm, to change it, and to change with it. It is the becoming storm of storm becoming the is It it. with change to and it, change to storm, the with move to storm, cation. The choreographic diagram and changes the the the speed, rhythm jectifcation. direction, of the subjectifcation. subjectifcation choreography and produces opens difference, up the processes to allow for other modes of sub force, lines lines breaking of of and force, subjectifcation, cracking, ruptures that all intertwine and mix together and where some augment the others or elicit others through variations and even mutations In the of (Deleuze the apparatus the 2007:342). event, (of assemblage” perfor of flm of mance, and weather video, and weather catastrophe) brings forth different modes of cation. As a choreography concrete unfolds setting, as and an subjectifcation. interplay of stratify as territorializing well lines, as ing, deterritorializing lines In of the fight. act of differenti lines of utterance, choreography expresses ation, an ensemble “lines of of forces: visibility, ment, its act ment, of differentiation cannot knowledge, be detached from the forces of power,

new coldness? of individuation can the choreography of the weather How be can changed. one choreograph the weather to produce new new new hotness, haecceities: new rainfalls, new winds, seasons, 74 Gerko Egert (Image body.his inside and Stillfrom outside even and room, his inside and outside motel, the inside and outside happening scenarios weather various the follows camera Kuchar’s 6. Figure © George Kuchar, courtesy of Video Data Bank, Bank, Data Video of courtesy Kuchar, George flm weeks of couple a spend Reno,to El year Oklahoma,to that,every went nearly Kuchar his in video frst the shot Kuchar George 1986,flmmaker In the HowDo YouMake YourselfBody?Meteorological a performance. the of event meteorological the produce individuation of storm.modes coming their a and before movements moments These tense the scenarios. weather various ing license as a lack of movement but the possibility to create a different attention: different a create to possibility the but movement of lack a as license missing the see not license.does driver’s He a have not does he practical: is motel the around pick their in chasers storm equipped professionally of caravan passing the of trail the follow not do they weather Reno’s El of movements season, 8. 7.

detailed analysis, see Ziemons (2014:109–12). (2014:109–12). Ziemons see analysis, detailed and there’s a tornado.a there’s and Youknow, 2014:156) right.Ziemons seem (in didn’t it live.to Tocar,a in getting it,than experience rather actually door,carsick, the get open wanted I that mind.setting my the in was was coming.that that And image the was That days cars in people about not were weather about read I that books the all And Te (2015). Bank Data Sorrow of Season ( series Te Weather Diaries 1 Diaries Weather lmed in Kuchar’s last video of the series the Kuchar’sof in video flmed last is tornado a with encounter direct only lm a tornado in the very last video he made before his death his before made he video last very the in tornado a flm to able only was Kuchar

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chasing tornados. chasing nd the next tornado. One reason Kuchar attends to the micro the to attends Kuchar tornado.reason next One the fnd to trucks up Weather Diaries Weather

George Kuchar’s 1986 video video 1986 Kuchar’s George [1996], , Weather Diaries 2 Diaries Weather Cyclone Alley Ceramics Alley Cyclone rst 6 of the 23 videos were simply numbered numbered simply were videos 23 the of 6 rst f e T 2011. and 1986 between lmed f was They were at home, or on their farms, and the tornado was tornado farms,the their home,and on at or were They 7 Though he was often in Oklahoma in May,in Oklahoma in often was he tornado Though is which - erently (for example: (for diferently titled are ones later the ,...); worlds. The meteorological choreographies are not linear; worlds.not are choreographies meteorological The www.vdb.org Weather Diaries I Diaries Weather [2000]). For a complete overview of Kuchar’s videos, see Video ) .

ographies. Rather than serving ographies.than Rather chore video’s the create to life everyday of movements various the up scenarios.takes Kuchar new various of time a as rather it.unfolds waiting of time The on focus not flms,do the they all through moves tornado the of lot, Kuchar captures the many the lot,captures Kuchar parking the in out hanging or motel,the of back the in felds the bed,through the strolling body.his inside on lying While and outside room,even and his inside motel,and outside the inside and outside pening hap scenarios weather various forces,desires,movements. and nonhuman and human of phies choreogra as unfold scenarios tornado,atmospheric the the of event main the to leads that tion narra linear a for background as in 2011. in WeatherDiaries Kuchar’s camera follows the follows camera Kuchar’s 8 Even though the force the though Even Hot Spell Hot Weather Watch Weather

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in the early the in (2011). For a (2011). series - . weathers After [1991], [1991], - - - - - Choreography and Weather 75

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- - George © ) (Image (Image George Kuchar’s 1986 video

. Weather Diaries Weather [Notes of[Notes a Storm Squatter: www.vdb.org George Kuchar, courtesyGeorge Kuchar, Video of Data Bank, Weather Diaries I © . (Image . (Image ) Figure Figure 8. Cutting up the movements of the cornfelds and trees, the passing fc,tra the broadcast of various media programs, Kuchar of from weather events. Still an creates excessive choreography George Kuchar’s 1986 video Kuchar, courtesy ofVideo Data Bank, Figure 7. Inside Kuchar’s motel room. Still from Weather Diaries I www.vdb.org ------Kuchar 9 who are chasing the tornados by following them around with their cars (Ziemons 2014:16). (Ziemons cars their with around them following by tornados the chasing are who Aufzeichnungen eines Storm Squatters: George Kuchars “Weather Diaries” storm chasers n his book I Ulrich Diaries”], Ziemons coinsGeorge “Weather Kuchar’s the squatter” term in “storm opposition to the highly mobile These movements of weather cut across the division of nature inside and and culture, out

9. ing storms or rainfall. Weatherman Gary England comments on pictures of Weatherman houses that ing have storms or rainfall. and TV Kuchar fickers, readjusts but The the still antenna, the pictures of been destroyed. side. The meteorological events of the side. videos cannot be reduced to the sky or the outside world; their choreographies are proliferating: wind and water interfere with the visual and acous tic streams of Colorful weather maps broadcast. show endangered areas awaiting the com parking lot and the rain comes through the air conditioner wetting the carpet of Kuchar’s These varied streams produce the room. meteorological choreography of the washing and cleaning, washing of and the cleaning, toi Some plastic let and the shower. garbage fies through the motel’s ficker across jumping the screen, The from one flm to the other. stream of broadcasting is cut up with images of food of and drink, ing maps of green, red, and ing yel maps red, of green, low cut to the images of other TV programs: cable blockbusters to the broad weather channel, casts new storms and new warn ings on just another dry and The sunny foat day in El Reno. the room, soaked with water, soaked the with room, water, and shakes brings itself, the rain tuned TV mostly set, The inside. nado. The rain flls big ponds nado. with water where the dogs and A dog runs inside children play. interferes with the passing bringing them cars, to a halt or pushing them in the direc tion of the next forecasted tor becomes a complex interplay of many human as well as non human movements: the storm Reno. This weather can in no Reno. way be reduced to a romantic The weather notion of nature. and trees, the and passing trees, fc, traf the broadcast of various media the different programs, lives of all of the inhabitants of El creates an excessive choreog raphy of weather events: the movements of the cornfelds

By staying at the motel and “squatting the storm,” www.vdb.org 76 Gerko Egert video video’s the choreography.from of Still rhythms vortical the create small, and large tornados of movement, swirling of Images 9. Figure Weather Diaries I Diaries Weather ) plastic bag showing England’s picture, an advertisement for his show,his for picture,advertisement England’s an showing bag plastic the set,flms radio,TV he the desire: room,the Kuchar’s the attracting in everywhere window,the are out warnings views tornado his dissonance.and strange England a producing dry and fear.sunny of the sphere with juxtaposed are streams weather dramatized these Again atmo tense a builds movies action and documentaries voices,from noises,clips background and clear.not are forecasts England’s and warning storms from devastating cutting rhythmic The after week, Kuchar not only composes the various meteorological and micro and meteorological various the composes only week,not after Kuchar choreography.weather’s the week of motel part the forces,becomes at Kuchar life daily Filming meteorological many with experimenting and worlds.moving weather By different and new invent,videos create,the produce observer; and distanced a of point the from depicted not is nonhuman.culture,outside,and and and human nature inside boundaries,existing between across cut food,and and rain,interfere broadcast and media wind ways: new in them connects movements,also the it differentiate and separate only not does phy apparatuses.choreographic and choreogra diagrams meteorological new The creating and machine,weather connecting a becomes movements,video dis/continuous the these graphing new emerge.where choreo chains “schizzes”difference By new of and assemblages creating combine,movements and images relations: new produce video,also the they of cutting the Like lack.of system a in operate not 1987:6).do Guattari ting)”movement and of (Deleuze cuts The cut a (like roots apart.adventitious take even Instead,they and do multiple they [...] “constitute connections.different and directions cut possible These new to ments continuity,fow’s move the up opening the 1983:39) are Guattari “schizzes”they and (Deleuze singular yet connected of series the and flming.video of each time,choreograph interruptions,same movements these the these At f ow the video.disrupt the constipation up and cut between choking channels zapping The TV tornados.of chasing the thunder,up The cuts license cast.driver’s a of fash,lack the The the The WeatherDiaries .

(Image © George Kuchar, courtesy of Video Data Bank, Bank, Data of Video Kuchar, George courtesy do not represent meteorological movements; they follow them.follow they movements; meteorological represent not do Weather

George Kuchar’s 1986 1986 Kuchar’s George WeatherDiaries . These moments do not simply disturb the disturb .simply not do moments These lms him flms he sink; the in or let toi the in water the of swirl the flms he time: the all nados tor out.flms sold Kuchar are maps storm patented England’s Hut nado,”nearby the to or plastic tor a “pet buys he where shop,dollar Reno’s El to motel the of out Kuchar drives also weather more get to desire the storm into the television broad television the into storm the splices and supply food of fow the into rain the cuts It speed.and direction their denly movements,sud the changing fows.edits ous Choreography continu of choreography ous choreography.video’s the of rhythms vortical the ate small,and cre large nados movement,tor swirling of of coffee.his into images These powder milk the stirring self This is not a harmoni a not is This nd out that Gary that out fnd to just Those Terrible Twisters - ups do not cut away,cut not do ups nor - meteorological Safeway Pizza - - - - .But ------Choreography and Weather 77

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- George worlds, worlds, © - ) was shot entirely (Image (Image

. . www.vdb.org Weather Diary 1 Weather Diaries Weather Weather Diaries I swirling movements in the toil

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oats through Kuchar’s body, creates the stream foats through Kuchar’s body, - Figure 10. Weatherman GaryWeatherman Figure England10. and his tornado warnings from Still desire. everywhere in are the Kuchar’s room, attracting George Kuchar’s 1986 video Kuchar, courtesy ofVideo Data Bank,

------with - as he

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metastable moments in a process of precarious weathering.

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he also composes

— MacDonald writes about Kuchar’s flming and editing process: “Indeed,

human body; an interference it is of multiple a body as a meteorological multiplicity, 10 one Scott in-camera. fabricated Kuchar his continuity as he shot, and when he left El Reno, the video was complete” (1999:23). The fow of food and of gastric sweat compose fuids, and new excrement, weather In the daily routines of the

weather forecast, the weather stream forecast, of food the and stream digestion, of flming of and wetness talking, They all produce the and meteorological coldness. body of the of differences in temperature, hotness and coldness. The body becomes meteorological. This is The body of becomes differences hotness meteorological. in and temperature, coldness. not movements already exceeding the known form of the body: the fow of the wind and the rain, the circling of but the also tornados, the acoustic stream of the the stream TV’s radio, of the meteorological movements are of the body. And yet they are not human movements. In the choreo the In producing a body that cannot be defned by movements. its form These or by its autonomous functions. human not are they yet And body. the of are movements meteorological graphy of human and the nonhuman body fows, consists of changes in speed and and pressure, ing. Kuchar’s “gastric distress,” as he refers to it (in runs Ziemons like “gastric 2014:135), a distress,” signature Kuchar’s ing. through nearly all of these videos. ing: a meteorology of eating, digesting, and excreting. The swirling movement of ing: and the a excreting. stew meteorology digesting, in of eating, the pot or The the food coffee in the cup. changes the body; it is the body’s process of body, composing The with gastric juices and acids. stream of digestion goes on: images of shitting and puking meal with the small electric hot plate provided in his room. Here another weather is emerg taurants nearby. When a tornado taurants nearby. warning cuts off this sup Kuchar heats up an instant ply, motel, food becomes motel, an impor tant part of the choreography. Most of the food comes from one of the various fast food res body, turning it into a meteoro body, logical scenario as well. the weather. Then too, the Then var too, the weather. ious movements of the weather relationally fow through his 10. out of they his move room, into the black of the night looking at None the of stars. these move ments is yet without none cause, of them every can new be With reduced to a linear process. event and every the new choreography infection, changes and new scenarios emerge: a meteo rology of tension down the and air and the circulates heat of it; wind the blows sun the evaporates clouds away, The rain flls up the pond in the motel’s satisfying the parking the But water. lot, dog’s at thirst. When Kuchar tries to get him and he the the runs same rain for time, wets cover. the dog’s fur, Weathering Desire The video’s choreographies do not create a harmonious composition of movement and forces. The weather is always unstable: clouds that pile up bring on thunder and rain; the rain cools events in his camera shoots 78 Gerko Egert ows of desire, the change of seasons,temperature,of desire,pressure,of change of velocity,air the fows wind rological and states. becoming.Weatherof rhythm condition, the stable but a Weathering: not is meteo the meteorological different between happening or to added nothing ing.is weather of change The pour and rumbling humidity,of into event folded the are in desire its expresses humidity and night.rainy cold rain a and and Thunder evening summer humid and hot a between process the simply not is thunderstorm a different: become to next.desire the a to always state is There body.spinning.of joy pure The Kuchar’s of storm becoming the is this storm; the milieu.desiring rological Kuchar not is This meteo its to related forces,yet pulling singular and feeing of state metastable a body: Kuchar’s twister.a of stability precarious themselves,the on creating back fold circles, movements in the body.his composing movements weather’s moving,the body but Kuchar’s not Rotating is This meteorology,the of weather the with moves he desire.of subject the part as As position his sustain to Kuchar for impossible desire,becomes it more produce to techniques multiple nonhuman.developing the By and human the of division the queer thereby and videos the of weather the alter forces creative and stratifying of interplay forces. different many of composition co the is it Kuchar; by storm.created the life,not becomes daily is Kuchar choreography This his of routines the storm,in the and for waiting of act desire.the of In choreography rological meteo a in Reno El with fows,moves and Kuchar movements nonhuman and human of tions desire, of fows ing,shitting,radio,the the the TV,sink the and toilet the in whirls the scenarios.practices new Kuchar’s ate 1983:294).Guattari worlds”and (Deleuze weather,it.the with with of love move outside make to no always possibility is “[W]e the only desire outside,weather,”one somewhere “the could from it storm,”“the or rain.” “the There distance,a objectifying at weather the placing impossible.by weather Only the desiring of act videos. the of choreography rological meteo the produces thereby and weather the of movements and fows the (re)connects and ates fow,1983:5).differenti Guattari fows”Desire and the turn, (Deleuze breaks in and fows itself to current the fragmented.causes and Desire fragmentary nature by are that objects partial and fows continuous couples weather: constantly the “Desire of forces and movements various the world. the of ness more the is human,it than and more is it more: something meteorological.is are Desire they humidity.of fow the human; enjoying the bed to the reduced on be cally cannot desires These lethargi water,lying accumulated bodies the sweating in of swim desire to the desire or trash’s raindrops,myriad the with fur dog’s the touching at joy rain’s the joy: and desire with ming brim events meteorological themselves become forces waiting,different of many process the concept.human a as it formulate lack,also of but terms in desire logical. describe Toonly not would tornado a encounter to wish Kuchar’s to only desire reduce weather the world.is the It in and world the of 2012).is [1988] Desire Parnet existing”houses, and in down (Deleuze but blowing in rejoice capacity,a not is itself: does typhoon soul.weather it “The its of But in force rejoice a must is it it feeling; human a to reduced be 1987:100).cannot Parnet demand”Joy and or (Deleuze lack difference and movement,change of of excess the reached.is be Desire can that equilibrium weather end,perfect no no is there object; desire no intensities.atmospheric of assemblages is new There of production the as well as condensation The weather strives toward difference. There is no transformation from one harmonious one difference.from toward transformation strives no weather is The There Every movement of desire is part of the weather.the of cre part and is movements desire infect of Movements movement Every the time,renders same it the at desire; weather only not does forces of proliferation The The WeatherDiaries of the weather; the weather is itself desire. Meteorological desire is not focused on one on focused not is desire.desire itself Meteorological is weather the weather; the and they change the meteorological event. By producing many intersecting rela intersecting many event.producing meteorological By the change they and The weather’s desire outruns the human subject.human the choreograph outruns desires desire These weather’s The , in turn, cannot be reduced to Kuchar’s desire for a storm to come.to In storm a for desire Kuchar’s to ,reduced turn,be in cannot

— The choreography is both diagram and apparatus.and diagram both is The choreography The

—

felds, the of flming the

it is pure joy: pure is it - worlding force of becoming. Desire is meteoro becoming.is of Desire force worlding

—

sometimes swiftly sometimes “The process of desire is called is ‘joy,’desire of process “The not the playing children,eat playing the the ,lethargically.sometimes

—

produce singular produce ------Choreography and Weather 79 -

- raised many

—

fnding its way the breakdown of the levees,

worlds. Weathering is the very Weathering worlds. — -

is precisely the complex choreography of

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Its speed changes with with every every infection, stone. 12 magazine cover story/special issue “Are We Making Hurricanes Worse?” Making Worse?” Hurricanes magazine We cover story/special issue “Are Can one detach these catastrophic events from the forces one “[Y]ou have to understand the land, the river, the sun, the the wind sun, “[Y]ou have to understand the the river, land, Time 11 in the middle: the rhythm of the river fows,

—

as I have already argued

— create a choreography that cuts through existing categories like the human

2005; see Tuana 2008:210). Tuana 2005; see where else?

—

already discussed on a much more general level in terms of climate change: “Are We already discussed We on a much more general level in terms of “Are climate change: question was asked by the following paragraph follows closely the detailed descriptions of Katrina essay in Protevi’s “Hurricane John Weather Diaries Weather Time Magazine Starting Tis ( Te Katrina: (2009:163–83).Te Governmental Body Politics” The fooding and devastation of large areas of New Orleans When the meteorological forces of the Gulf of Mexico accelerated and subsequently hit the The event of Hurricane Katrina makes it impossible to separate human from nonhuman,

through the landmasses to the sea. geomorphology, meteorology, biology, economics, politics, and history” (Protevi 2009:163). (Protevi and 2009:163). history” politics, economics, biology, meteorology, geomorphology, Following John Protevi’s account of the these event movements, of Katrina unfolded in its countless relations and its singular force: weather as it had not weathered before. many movements and forces. and the and (air), sea: water: you fre, you have have to wind, to understand understand earth, 11. 12. Making Hurricanes Worse?” Making Hurricanes the deaths of many people, most of them African Americans, poor and the Americans, elderly deaths of most African many of people, them questions, force did not cut across the weather’s own rhythms; the hurricane was not an event outside an Katrina became its own singular process otherwise stable Rather, meteorological equilibrium. by intensifying the relations of the meteorological diagram from within. unfolds in its singularity. coast Hurricane of August Katrina This Louisiana 2005, unfolded in its own catastrophic force. summer, sunshine be experienced. Seasons, extreme dry sunshine Seasons, or ice be rainy ages experienced. periods, and (prob summer, ably most prominently discussed) the recent debate on global warming: these express the dis/ continuities and shifting dynamics of the In weather’s the processes. nonlinearity of differential and always becoming, also forged by forces of every preceding meteorological scenarios, event of relations and differences: a meteorological which rhythm does emerges, not exist in the repe tition for of instance) the but same in (the the ever contrasts recurring of summer, temperature, spring, Only in wetness, moments of coldness, change can dryness, and the air. hotness, light, cities and traffc are all also part of the processes of the weather In the dis/continuous process mode of of the its world’s atmospheric becoming, choreography. meteorological scenarios weathering, emerge New and haecceities perish. generate assemblages The The weather’s processes and nature proliferate the and and nonhuman, culture. create more These choreographies do not new exclude haecceities: new seasons. new winds, temperatures, politics and economics, but the render human, the body Human itself history, meteorological. Hurricane Hurricane Katrina haphazard. Weather haphazard. just “natural”? just natural from One cultural cannot factors. directly extract the amount of human impact and thereby ask how to reduce these factors and to somehow make “natural” the catastrophe normally calls human history, politics, and economics? And if not, And how and if do economics? not, these politics, (human as well normally calls human history, creating as a nonhuman) meteorological actions disaster relate that to is each more other, than sun also made the sugar cane grow. Europeans brought slaves sun to also Louisiana made to the work sugar on cane the grow. sugar ow of both land and water. The levees were altering extended the by levees, fow the of Europeans both land and water. who settled both in the area of the Mississippi Delta and By also straightening upstream. out allowing bigger ships to the sail the river to New bed, got New levees faster, Orleans. were built and The new water rhythms evaporated of and water the The emerged. sun dried out the banks. But the stream bed also changes: slowly, water lays But down the sediment at stream bed the piling also river up banks, changes: slowly, 80 Gerko Egert ows cannot be restricted to the air and the water.other.the the and on air fear the and to hand restricted one be cannot fows The These the on 1804,hope to bringing 1791 of revolution Haitian the of men.force the was there And French,of Spanish,movements the and were slaveholders, There American soldiers,trades and trade.slave internal an of part as States Northern the and Caribbean the from Africa,also but goods,central of and money,Senegal from ships by slaves as brought humans.were and People cruel,ocean.fow the the economic with across converged ships currents slave Air the carried caused winds.and Atlantic air the and winds water plantations.These the up heated sun The 13. themselves categories tion.the Rather construc human a it outside,is the nor from humanity strikes that disaster natural some ther choreography.cultural nor natural merely a to nei reduced is be Katrina Katrina,cannot which (Tuanacancer to lead can that processes genetic new ing 2008:198–201). DNA,the animals,cells,RNA,with and the interacting humans generat and of fesh the with choreography.own their create humans.molecules side PVC ingested,mix are they they As along soup.”foats “toxic that object an (PVC),not chloride waste,is polyvinyl But especially a creating water Tuanathe into fowed also sites waste toxic fve of shown,poisons has the cemeteries.the to victims the bringing processions line ization.second the at again, danced and people Again deterritorial and stratifcation of lines of choreography violent cities,a other generating to ple security.FEMA’sby followed often was move to peo impossibility of The displacement forced private and forces emerged,armed stratifed,help the immediately by organized, restrained and them.rescue to of others choreography for A hoped and move not Superdome.could Many the in shelter seek or town leave to trying were people changed: movements of choreography storm. the down slowing constantly.changes also of land possibility the it erodes,with Louisiana and of line coastal The ning what counts as human and what does not. does what and human as counts what defning forcefully by itself differentiation of act the nonhuman.operates,the Racism of with therefore, side and the at on not certainly and human; rology. Takingthe of side the on it place simply force,cannot meteorological one a as racism meteo its in apparatus.force racist powerful a a unfolded, of became Katrina raphy racism As choreog the created companies,speech security Bush’s private US and the Army of presence land,air,“by by 2009:154).Massumi also see sea”2005; by Together(Bush combined the with the at “storm war a George President W.in lootings,2009:173); of (Protevi rapes,murders and of rhetoric Bush’s uprising,rumors slave’s the the of fear historical an of nexus nonlinear the in forces: nonhuman and human of interplay the in force cruel with Katrina,unfolded surrounding racism events meteorologically.operate they how and power of regimes different to the points Throughout racism, of part are worlds travel,etc. Takingweather the of part is racism that account into to facility and ability live,the people in where neighborhoods milieu,the the in in orology: composition of force a as beings.unfolds Racism human other on humans by out acted only not is that force a is racism that shown have Katrina racist.react,phe.extremely to reaction,was failure government’s of or the events yet The And catastro weather indiscriminate an to reaction human the to racism reduce simply cannot work. at concepts these Katrina, of scale the event an of unfolding the by question

These (and many more) movements and forces produce the total event of Hurricane of event total the produce forces and movements more) many (and These altered.radically were that Nancy inhabitants As the of choreographies the only not was It city,the fooded and levees the broke water the when moment the during and Before elds “have continually sought to understand what it it what understand to sought continually “have elds f these from Scholars human. as recognized is what ne f de to C Addressing the racism in the event of Katrina, Protevi’s descriptions have shown that one that shown have Katrina,descriptions of Protevi’s event the in racism the Addressing ritical race and postcolonial studies have repeatedly pointed out how racism works, especially with the power the with especially works, racism how out pointed repeatedly have studies postcolonial and race ritical - beaten home beaten does not result in racism’s relativization.racism’s Instead,in perspective result this not does - front mid front

—

nature/culture, - America” (Massumi 2009:154) dependent on help on dependent America”2009:154) (Massumi

—

a choreographic apparatus choreographic a human/nonhuman showing once again the violence of violence the again once showing - worlds, and that the weather the worlds,that and

—

are called into called are —

in the mete the in ------13 - -

Choreography and Weather 81 ------

- to men - not

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Washington Washington dyn/content/article - object dichotomies, object dichotomies, - 14 . Translated by Daniel W. Smith. New York: York: New Smith. W. by Daniel Translated . aesthetic” (Guattari 1995:8, 29) (Guattari process 1995:8, of aesthetic” a cho - Edited and translated by Minneapolis: Seán University Hand. of . Translated by Martin Joughin. New York: Columbia University Press. York: by New Martin Joughin. Translated . medical, intellectual, economical, and political attempts to demarcate the boundar Foucault. Foucault. legal,

—

Negotiations The Logic of Sensation Bacon: Francis be” (2013:171). “movement It itself” is (2013:171). be” “becomes the that way the event has con - to - , 15 September. Accessed 29 www.washingtonpost.com/wp December 2015. 15 September. , somebody By or placing something. violence in the act responsibility of differentiation, rotevi points out the immediate help that was o f ered from the people of OrleansNew and Louisiana. Tis help was massively disturbed when the aid governmental arrived. “[L]et us not forget the hundreds of volunteer rescu ers who came to Orleans in New their trucks and their boats, pulled somehow by that solidarity to rescue strang ers. T ese rescuers, though able to work the f rst few days on their own, were eventually refused entry to the area by the whichEmergency Federal gave Managementus Agency, the worst of all possible governmental responses: not only did they not do it themselves, they also refused to get out of the way and let the volunteers do the work” (2009:182). Continuum. means and has meant to be human, given that much of slavery and colonialism operated through (Livingston ies 2011:5). and among Puar species” P Post /2005/09/15/AR2005091502252.html. Minnesota Press. Only by changing the relations by of altering could movements, Katrina’s the diagram, dev Erin Manning calls this choreographic “ethics “[A]n responsibility of ethics an relations”: of Thinking of Katrina as a meteorology of powers also raises the question of responsibility tion foundered upon

for nonhuman. Each of nonhuman. them “ethico creates the reography that opens up to the desire possibility with to the move weather, with the weather, and to attend to the precarious movements of the weather. and geology cannot be taken as separate movements; they are more than just human and more The meteorological choreographies than of just the nature. weathers’ becoming are processes of differentiation that cut transversally across categories like nature human and and culture, astating forces of the event Katrina be has changed. shown that these movements are nei history, ther exclusively on the side of the meteorology, human nor Politics, the nonhuman. from nature. Responsibility from becomes nature. the movement of turning towards the force of becoming The helpful neighbors the and Louisiana and inhabitants, to the choreography of the weather. and and the Fisheries, Coast Wildlife Guard Department did of not act on orders from outside. They acted by attending to the multiple needs of the city’s movements. ity acts in the weather. In its concern ity for it acts the becomes in movement, itself the a weather. movement inter By refusing any presumed subject fering with the event’s choreography. responsibility does not simply play out as the preservation of nature or as one’s preservation cern for its unfolding” (206). A responsibility with concerns cern for that for (206). the acts its event, in unfolding” the event and in the process of Moral its judgment becoming. and representative responsibility act from placing the themselves outside, at a In superior the responsibil distance. meteorological event, relation has concern for the event in refuting prefer its knower/known emergence, hierarchies, ring instead a horizontalizing milieu of experience where what emerges conditions the stakes of its coming unfolding. Again, this does Again, not lead to a relativization unfolding. or even reduction of responsibility of the but does human, lead to an account of processuality and This becoming of the human itself. responsibility includes questioning the act of defning what is human. in does not represent the but already becomes defned, itself choreographic: not a representation but a responsibility for the process of the weather’s “the weather,” “the river,” “the human,” of in a different way. This This responsibility is neither attributed to a human in subject a nor different does way. it stand 14. Deleuze, Gilles. 1995. 1995. Gilles. Deleuze, 2003. Gilles. Deleuze, Deleuze, Gilles. (1988) 2006. (1988) 2006. Gilles. Deleuze, References “President Bush Delivers Remarks on 2005. Hurricane Katrina Recovery.” W. George Bush, 82 Gerko Egert Deleuze,Guattari.Gilles,Félix 1987.and Deleuze,Guattari.Gilles,Félix 1983.and Deleuze,Gilles. 2007. http://www.mitpressjournals.org/doi/suppl/10.1162/DRAM_a_00548. Toarticle,visit this please to related viewmaterials supplemental Ziemons,Ulrich. 2014. VideoBank.Data 2015. Kuchar.”“George 2015.December www.vdb.org/artists/george8 Accessed Tuana,Nancy. 2008. “VisciousPorosity: WitnessingKatrina.” In TimeMagazine. Protevi,John. 2009. Massumi,Brian. 2009. Steps Emergency: TowardEnterprise “National Powers.”of Ecology an Manning,Erin. 2013. MacDonald,Scott. 1999.the to Vernacular:Sublime the “From DeBont’s Jan ‘Twister’ George and Livingston,Puar.Julie,Jasbir and 2011. “Interspecies.” Lepecki, André.2007. Capture.”as of “Choreography Apparatus Ingvartsen,Mette. 2014. on “Lecture Ingvartsen,Mette. 2012. Project.”“The Nature Artifcial 2015.July http://metteingvartsen 16 Accessed Ingold, Tim.2011. Guattari,Félix. 1995. Gil,José. 2002. Body.” Dancer’s “The In Deleuze,Parnet.Gilles,2012.Claire (1988) and “English TranscriptJOY.”on Deleuze of Swarm Agent Deleuze,Parnet.Gilles,Claire 1987.and Brian Massumi. Minneapolis: University of Minnesota Press. Minnesota of Massumi.University Brian Minneapolis: Hurley,Press. R.Seem,Minnesota Helen Mark of Lane.and University Minneapolis: TranslatedMike and by Taormina.Hodges Ames New York:Semiotext(e). Germany: Transcript. Hekman,Press. Susan University 188–213.and Indiana Bloomington: Press.Minnesota Society and Culture Kuchar’s ‘WeatherI.’”Diary Berlin.Uferstudios 2014. Berlin,January 25 .net/2012/05/the Press. University Indiana Bloomington: Ocaña,Karen Massumi,117–27.by Brian Routledge. translated London: .wordpress.com/2013/08/17/english (blog),17 2013. August Translatedby TerenceBlake. 2014.May http://terenceblake 22 Accessed New York:Press. University Columbia 2005. Being Movement,on EssaysAlive:Description and Knowledge PoliticalSomatic the and Social the Connecting Affect: - artifcial

Chaosmosis: ParadigmEthico-Aesthetic An AlwaysMore Dance Individuation’s One: Than “Are WeHurricanes Making Worse?” issue,October.Special 3 26,6:153–85. TwoMadness: Regimesof Texts1975–1995 Interviews and Aufzeichnungen eines Storm Squatters: George KucharsGeorgeSquatters:Aufzeichnungen Storm eines ‘WeatherDiaries’ - nature FilmQuarterly - The Project Nature Artifcial project. - transcript A Shock to Thought: Expression after Deleuze and Guattari Shockto and A Deleuze after Expression Thought: Dialogues A Thousand Plateaus: Capitalism and SchizophreniaA and Capitalism Plateaus: Thousand Schizophrenia.and Capitalism Anti-Oedipus:

53,1:12–25. - . TranslatedHugh by Tomlinson Habberjam.Barbara and of - deleuze Social Text . TranslatedPefanis.Julian and Bains Paul by - on .”Lecture, TopographyEphemeral,the of TDR Material Feminisms,Material - 29,1:3–14. .Press. University Durham,Duke NC: joy. 51,(T194):120–23. 2 . Minneapolis: University of .University Minneapolis:

.Routledge. London: . Edited by David Lapoujade.David .by Edited TranslatedRobert by edited by Stacy by Alaimo edited . Translatedby .Bielefeld, Theory, ,by edited -

kuchar.