Bill Durgin
Monterey Bay Aquarium
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will byers stan first human second

Andulka
Cosmic Funnies

Love Begins
AnasAbdin
we're not kids anymore.

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Stranger Things
Lint Roller? I Barely Know Her
Today's Document

Kaledo Art
Claire Keane
almost home
he wasn't even looking at me and he found me
I'd rather be in outer space šø
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Bill Durgin

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ImpositionĀ Ā© Michael Snow Date made: 1976 Materials: colour photograph, wood frame Measurements: 195 x 117 cm Collection: Marielle L. Mailhot, Montreal; Ludwig Museum, Cologne; Ydessa Hendeles, Toronto
Imposition, 1976, andĀ Crouch, Leap, Land, 1970, coax viewers to assume positions similar to those performed by the models in the photographs. The tilt of the head required to studyĀ ImpositionĀ (a photograph hung on its side) leaves us mimicking the poses of two models who in turn contemplate a photograph, while inĀ Crouch, we must kneel to observe the images of a crouching, leaping, and landing woman affixed to the bottom of three hanging stations. Our recourse to Snowās photography is never direct but rather directed: We double take, calculate, rotate, and circulate to Snowās specifications.
http://artforum.com/picks/section=us#picks45632
Still Living (9x4 Acts, Scene 1)Ā Ā© Michael Snow Date made: 1982 Materials: edition of 10 portfolios each containing 9 pages with a total of 36 colour photos 1 title page Measurements: 22 x 17.5 in./po Collection: Various Collections. 2 copies Snow Collect
Michael Snow | To Illustrate and Multiply: An Open Book
Wavelength (Michael Snow, 1967)

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Rebel, with or without.
Indian Sun Dance Ceremony
Cunningham technique intermediate
Merce Cunningham Technique- basic
Martha Graham: Preparation for knee work.

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Martha Graham technique.
Old film of repeated movements, used as part of a dancers formal training in the Martha Graham technique.
Brave New World Extract
Marten Spanberg!!
Ezther Salamon
InĀ Dance for Nothing, Eszer Salamon performs John Cageās music, "Lecture on Nothingā (1949) and simultaneously dances with the aim of creating choreography of non-intented movements to be juxtaposed to the text piece. The idea of using music done by words and performing a parallel action as another temporality follows the desire for interaction with non-interference. āThe dance in āDance for Nothingā should be autonomous and never become an illustration or a commentary on the text.ā Eszter SalamonĀ http://www.eszter-salamon.com/WWW/dancefornothing.htm
We are interested in many of the discussions going on in the arts, and in popular culture, about audience participation, agency, ācustomisation cultureā ... (blog journalism, tweeting an event your feedback/thoughts, Appleās app store or Nikeās design-your-own-trainer experience...). Despite (or perhaps because of) this we feel that, as consumers, there is a high expectation that our cultural experiences will be well facilitated. That we will be given an appropriate number of options + appropriate set boundaries + appropriate directive/facilitative/supportive environments in order to best achieve our own participatory potential.Ā
Ā ...We donāt want to be told how to have fun, but we donāt want to be left in charge of making our own fun either...
Ā www.artsadmin.co.uk/events

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http://jelezarose.com/WELDERS
āDUSTā written, directed, edited by Thanasis Tsimpinis is tale told to the music of āThe Seerā by SWANS.
http://slavemag.com/dust-short-film/