due 3.21 https://drive.google.com/drive/folders/1iyts3Ytu1yuudhAdCvlwOj_cnKvEGx7-

Carolina Martinez and Lisa Zaher, Performance, March 16, 2022, University of Chicago Center in Paris.

Body – Image – Word: Immersive Meditations into the Void of the Creative Unconscious

–“Some things you only remember, because they don’t have anything to do with anything.”


T.E. Hulme, “Cinders” in Herbert Read, ed. Speculations: Essays on Humanism and the Philosophy of Art (London and New York: Routledge & Kegal Paul, 1987), 230-234.

Through all the ages, the conversation of ten men sitting together is what holds the world together.

Never think in a book: here are Truth and all the other capital letters; but think in a theatre and watch the audience. Here is the reality, here are human animals. Listen to the words of heroism and then at the crowded husbands who applaud. All philosophies are subordinate to this. It is not a question of the unity of the world and men afterwards put into it, but of human animals, and of philosophies as an elaboration of their appetites. … (230)

The truth is that there are no ultimate principles, upon which the whole of knowledge can be built once and for ever as upon a rock. But there are an infinity of analogues, which help us along, and give us a feeling of power over the chaos when we perceive them. The field is infinite and herein lies the chance for orginality. Here there are some new things under the sun. (Perhaps it would be better to say that there are some new things under the moon, for here is the land preeminently of shadows, fancies and analogies.) (233-34)


T.E. Hulme “Cinders” in Herbert Read, ed. Spectulations: Essays on Humanism and the Philosophy of Art (London and New York: Routledge & Kegal Paul, 1987), 235-6.

The Dancer.

Dancing to express the organisation of cinders, finally emancipated (cf. bird).

I sat before a stage and saw a little girl with her head thrown back, and a smile. I knew her, for she was the daughter of John of Elton.
But she smiled, and her feet were not like feet, but …..[sic].
Though I knew her body.
All these sudden insights (e.g. the great analogy of a woman compared to the world in Brussels)—all of these start a line, which seems about to unite the whole world logically. But the line stops. There is no unity. All logic and life are made up of tangled ends like that.
Always think of the fringe and of the cold walks, of the lines that lead nowhere. (235-36)


Fred Moten, “Sound in Florescence: Cecil Taylor’s Floating Garden,” from In the Break: The Aesthetics of the Black Radical Tradition (Minneapolis and London: University of Minnesota Press, 2003), p. 59

“Chinampa—an Aztec word meaning floating garden.” This image moves toward what is made even closer by the conjunction of the image (of the title or name) and the sound (of the saying of what it marks or holds). It signals a suspension that is free or that frees by virtue of the contagion of its movement: when one sees a floating garden or is confronted with the s

Experimental  Pedagogy Session: Recording the Body in

For this week a selection of 12 text excerpts (Moten, Rodowick,
Sobchack, Gil, etc.) and 12 film/video excerpts (Wu Tsang,
Frampton, Brakhage, Deren, etc.) will be provided in advance.
Your task: Please produce a response to this material, which
can be creative or just a written response. If creative, please
also say a few words about what you did. If written – 1-2
pages; if creative up to 3 minutes. Some suggestions: You
may find an additional film or video clip that shows the recording
of the body in motion and record a voice-over of yourself reading
one of the text excerpts, or you may produce your own video in
any format, or sample from the videos provided, or write a
reflection. Due March 21st. Please post to canvas in the
discussion board.

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