Humans are perfect surveillance devices. If you use artistic/cinematic codes, you can have them analyze your work and research intuitively.
10 YEARS A MASTER
— Bogomir Doringer
need to recognize what your material is. This is where the concepts may help, they can aid the process of developing an understanding of the material. I like to build a “cosmology” of my practice. I give things names in order to push it forward, to create new openings and facilitate communication. For example, I refrain from calling people who engage in my experiences participants but address them as players. This differentiation has a serious impact since it frames their engagement - they’re not only participating by choosing from a given set of options but actively co-directing the outcome and overall course of game. Be that as it may, conceptualization always comes after the experience itself as an act of articulation. I name things that are already there. If you get entangled in too many concepts, you become their hostage. Concepts are not the only way in which knowledge and experience are articulated. The things that are said, seen, felt, and expressed in the games, leave a footprint, and inherently inform future games. Hence, the same way as the concepts are being refined over time, here the knowledge is being accumulated within the experience itself.
I want to provide the audience with some sort of metaphysical synthesis bringing things that lie below and above us into the temporal and spatial scale of humans. — Maria Molina Peiró
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Eliane: The awareness of what I’m working on and the possibility to verbalize it is essential to me. It gives me the opportunity to share not only the work itself with the public but also all the findings and discoveries that were made in the process. That knowledge of the methods, challenges, and structures of my research feeds back into my work as an educator. Bogomir: At some point, when I came up with and started using the term Dance of Urgency, someone asked me where I took it from. I looked around and realized it was coined within my practice. In that notion, I managed to capture something about dance and its relation to the state of political urgency, art, expression and club culture that wasn’t given a name before. The dance of urgency is a dance that arises from the emotions that occur in times of personal and collective crises. Such a dance empowers individuals and collectives, uniting them and enabling to perform as political bodies when necessary. Taking the interdisciplinary approach, I was able to extract expertise from dance culture and it suddenly started to look not only like an original
