Klein Tools 55-1/2 in. Grizzly Bar: $110.72
Bostitch 36" Steel Wrecking Bar: $19.08
Craftsman 16" Pry Bar: pries less
Showing posts with label tool. Show all posts
Showing posts with label tool. Show all posts
5.29.2012
Mastercard
Klein Tools 55-1/2 in. Grizzly Bar: $110.72
Bostitch 36" Steel Wrecking Bar: $19.08
Craftsman 16" Pry Bar: pries less
9.09.2011
Not post anything only pre
From an email to a friend - (with some additions)
I think that we are not "post" anything, only "pre" what is coming down the pike. I think that "post" implies that whatever we are past, what tools, logics, and aesthetics we explored in the past are over and no longer relevant. But love stories are not gone. Dances about the human condition are still being made. They are not being created with Graham technique, but with release, CI influenced deconstructed ballet choreography. So why if the logic(topic) of the piece is basically the same, but the tool used is post - or contemporary we do not call the piece modern? What criteria are we using to define work - the tools used, the logic expressed, or the aesthetic used?
Every age, -ism, and ide[a]logy that is created doesn't die out but becomes part of the available pallate(sp?) palette, incorporated in to what people have and can use, expanding the reified world.
We all get hung up in the details as opposed to viewing the relationships among the details. Heidegger, after all, said that existence is defined by relationship to.
Tweet
I think that we are not "post" anything, only "pre" what is coming down the pike. I think that "post" implies that whatever we are past, what tools, logics, and aesthetics we explored in the past are over and no longer relevant. But love stories are not gone. Dances about the human condition are still being made. They are not being created with Graham technique, but with release, CI influenced deconstructed ballet choreography. So why if the logic(topic) of the piece is basically the same, but the tool used is post - or contemporary we do not call the piece modern? What criteria are we using to define work - the tools used, the logic expressed, or the aesthetic used?
Every age, -ism, and ide[a]logy that is created doesn't die out but becomes part of the available pallate(sp?) palette, incorporated in to what people have and can use, expanding the reified world.
We all get hung up in the details as opposed to viewing the relationships among the details. Heidegger, after all, said that existence is defined by relationship to.
Tweet
9.12.2010
Going to Performances
Last night I went to see Nah Dran XXII at ada. Didn't know anyone on the program, but it is a theater nearby AND I didn't know anyone on the program. Off I went at 5 past 8. Took me all of 4 minutes to bike to the theater. And found parking right away.
I enjoyed about half of the performance. Most of it, if I just viewed it as cool moves in time and space with some sounds. But after reading the program about how do people connect and trust and does this character want to leave her spot...blah blah blah de#$!@blah...
Anyways that is not what I am here to talk about. Upon reading the program, I was surprised to see a friend was performing. She had been pulled into the performance a week ago due to an injury of another dancer. I enjoyed that piece. It has a fruitful structure. While she and I chatted after the performance, she asked me why I had come to the performance. Did I know anyone in the show or had I seen any of the other performers' work. I had not, I replied. A look of what I took as surprise came over her face. Why surprise? That I would go see work of people I don't know?
Regardless of what was going on in her head...it is important for artists to see work. Yes, we all know this, but I think that we forget it. And I would venture to say that it is more important to go see work by people we don't know and aren't friends with. *** Birds of a feather flock together, so your friends probably have similar interests in performance, whether in tool, aesthetic or logic (2 out of 3 at least, another ventured guess). And seeing work by people unknown to you will broaden your horizons.
I have heard several choreographers on different continents and different sub-genres of contemporary dance say that they are tired of going to see work - they don't like what they see (so has performance been reduced to entertainment?) or they don't have time to see other work after their rehearsals/performances and seeing their friends performances (see *** above).
In summation - go see work and a lot of it!
I enjoyed about half of the performance. Most of it, if I just viewed it as cool moves in time and space with some sounds. But after reading the program about how do people connect and trust and does this character want to leave her spot...blah blah blah de#$!@blah...
Anyways that is not what I am here to talk about. Upon reading the program, I was surprised to see a friend was performing. She had been pulled into the performance a week ago due to an injury of another dancer. I enjoyed that piece. It has a fruitful structure. While she and I chatted after the performance, she asked me why I had come to the performance. Did I know anyone in the show or had I seen any of the other performers' work. I had not, I replied. A look of what I took as surprise came over her face. Why surprise? That I would go see work of people I don't know?
Regardless of what was going on in her head...it is important for artists to see work. Yes, we all know this, but I think that we forget it. And I would venture to say that it is more important to go see work by people we don't know and aren't friends with. *** Birds of a feather flock together, so your friends probably have similar interests in performance, whether in tool, aesthetic or logic (2 out of 3 at least, another ventured guess). And seeing work by people unknown to you will broaden your horizons.
I have heard several choreographers on different continents and different sub-genres of contemporary dance say that they are tired of going to see work - they don't like what they see (so has performance been reduced to entertainment?) or they don't have time to see other work after their rehearsals/performances and seeing their friends performances (see *** above).
In summation - go see work and a lot of it!
6.22.2009
5.07.2008
Classifications
Thought of a way to classify dance companies into classical, modern, post-modern:
Classical - named after a place -> Ballet Russes, American Ballet Theater
modern - named after a person -> Martha Graham Dance Company, Paul Taylor Dance Company
post modern - named after anything else -> Lower Left, Body Cartography
Is this true for every case? No, but I think there is some truth to it. Takes us back to the question of what defines classical, modern or po mo. Is it the tool, the aesthetic or the logic? See picture below for relationship. Much work done now is still modern in terms of logic but the tools are different than the tools of traditional modern. Maybe that is what contempory work is - modern/classical logic with post modern tools.
Classical - named after a place -> Ballet Russes, American Ballet Theater
modern - named after a person -> Martha Graham Dance Company, Paul Taylor Dance Company
post modern - named after anything else -> Lower Left, Body Cartography
Is this true for every case? No, but I think there is some truth to it. Takes us back to the question of what defines classical, modern or po mo. Is it the tool, the aesthetic or the logic? See picture below for relationship. Much work done now is still modern in terms of logic but the tools are different than the tools of traditional modern. Maybe that is what contempory work is - modern/classical logic with post modern tools.
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