EREZIA

The Inauguration of the People's Salvation Cathedral

2011-11-14T19:55:00.003+02:00

The Romanian Orthodox Church wants to build a huge People's Salvation Cathedral. Of course with the money from the State budged (around 900 millions euro). Ironically will be next to the House of the People, the huge building made during Ceausescu's regime.

They started the construction but they already build also a small, simple, cheap and temporary, cartoon made church, as a way to mark the territory. We made a campaign announcing that that's the People's Salvation Cathedral, and we set the day of 11.11.11 for its inauguration.

At the inauguration I appeared as a priest and, after a very short religious procession, I apologized, in the name of the Orthodox Church, for the exploitation and commercialization of gypsy slaves by the Romanian Orthodox Church till the 19 century (a taboo issue for them).

I announced that the orthodox churches will be day and night open, for the homeless people, that are more and more on the streets, evacuated from their homes by the banks.

I announced also some possible reforms inside the Church, like the women to have the same rights as man to perform the mass and to have access in the hierarchical structure at any level, not just to clean the church and sell candles.

But actually I criticized also the hierarchical structure of the Church and the hypocrisy - everything is in gold, allot of properties and political power. The top members of Church travels in limousine surrounded by police, blocking the traffic for the rest of people. I said that all this represents the Antichrist because is the opposite of Jesus message - simplicity, poverty, love...

But in general I was thankful for the honor to inaugurate the People's Salvation Cathedral and happy for an important step of Romanian Orthodox Church towards christianity - they chose to do a simple and spiritual church instead of building the opulent home for the Antichrist (of course they didn't).

THE FINAL CRISIS - THE BURST OF THE CULTURAL BUBBLE

2011-08-23T00:25:00.000+03:00

AN ARTIST MORE - A TERRORIST LESS

In Romania during the so called "communist period" there was what they called "the resistance through culture". In the sense that some artists and intellectuals didn't compromise to praise the dictator, but at the same time they didn't take any risks, they went with the regime doing their art and now they pretend that they were dissidents. They are very badly judged now. They are called "collaborators". Paradoxically they are more badly judged than the obvious collaborators. People accuse them that it was their responsibility to criticize the regime and because they didn't do it, they legitimized the regime. It was their responsibility to set how the struggle should look like and what they provided was a kind of a fake resistance, succeeding in this way to steal potential from other kinds of resistance.(1)

Same now. There is the obvious collaboration, the clear example being the "creative industries" and the artists that are "sent" in problematic places, in slums, between immigrants or in "emergent" countries to prepare the terrain for "democracy" and capital - the stalkers of capital, like in the past the catholic priests were send in colonies to introduce the christianity and the economic thinking.

But more problematic is the fake resistance, the subtle collaboration. The so called "political art", the majority of "critical theory" that are carefully attentive not to pass some clear limits. It is problematic because they are setting the tone of how the resistance and critique in society should look like.

Analyzing how media works, Chomsky noticed a kind of interiorised self-censorship, an interiorised authority at the core of it. The tendency is to self-adjust to the "normal"/official perception, to the status quo. People automatically take the frame of the superior publications, which take the frame of officials, which take the frame of the financial sustainers. The self-censorship is not so much about what information is presented, it is more about the perspective about reality, about the implicit paradigm from which the reading of what's happening emerges.(2)

This kind of analysis can be easily extended to art and to entire cultural component. The artist, like the journalist, is in a chain of economic-political power relations. He's the subject of a pressure from above - curators, programers, which are the subject of a pressure from politicians or banks/corporations (via financial support). From this point of view the artist is a link between officials and the subjectivities it addresses, an important piece in a chain of power influences.

The majority of the population is sufficiently "covered" by the mass media and entertainment, apparently the contemporary art play a small role in the big picture. Maybe from the quantitative point of view, but from the point of view of how power operates, the target of high culture (contemporary art, academic theory, etc.) is tremendously important because it assimilates and addresses the marginal people that are more at unrest, emancipated, unsatisfied, activists, critical, etc. Foucault noticed that the power always focused to assimilate, to integrate or to criminalize/annihilate this dangerous, more marginal, independent subjects.(3)

Art (and Academia) seems to be some of the best solutions for assimilating, absorbing, discharging and disarming in its key points the resistance, dissent, revolt and frustration accumulated in society. It works like a substitution, it swallows real struggles, the real potentiality and transforms them into consumable spectacular cultural products like art. It is an appropriation of struggles. This accumulation of struggles creates the cultural (and artistic) bubble, a luxurious prison where the dangerous people, thoughts, concepts and intentions are domesticated.

ART BUBBLE
(Art is infinitely better than reality)

Ranciere is enthusiastic about the fact that aesthetics were set since the beginning to work on the egalitarian principles:

"The very idea of Art - of the aesthetic experience - as defining a specific sphere of experience was born in the late eighteenth century under the banner of equality: the equality of all subjects, the definition of a form of judgment freed from the hierarchies of knowledge and those of social life."(4)

I think we can spot here a fundamental problem - the fact that art was set since the beginning to answer to this important needs and aspirations in an alternative reality - to function as a substitute that enables an abstraction from the concrete ideologico-political constellation. Religion offered this kind of compensation-refuge further in time, in the next-other life, art seems more efficient and can give a compensation now, but not here - in alternative realities, escaping in spaces of creativity, representation.

Freud considers that "life as we find it is too hard for us; it entails too much pain, too many disappointments, impossible tasks. We cannot do without palliative remedies… There are perhaps three of these means: powerful diversions of interest, which lead us to care little about our misery; substitutive gratification, which lessen it; and intoxicating substances, which make us insensitive to it. Something of this kind is indispensable."(5)

Art/aesthetic seems to be a good "remedy" that plays all this three palliative functions so needed to cope with the inequality, exploitation, domination and precarity of life. Art can be seen as a space in which you can play with "radical" changes in a safe and inoffensive environment - a provided, institutionalized place for critique and experiment in order to keep the status quo outside of it.

Ranciere and with him others artists and theorists, says that art is already political just because it exists and modifies the regime of sensible, producing emancipation, etc. Of course these theories are a big hype among artists because they justify and provide rationalizations for "my art is my activism" attitude. It is very convenient, you just stay in your art studio and work at the level of finesse and sensible, and you are in the same time revolutionary, subversive and so on. You are a radical artist without touching on the power relations. You keep the privileges and you do resistance at the same time.

THE MORBID SIDE OF CULTURE

Everybody is happy - the artist, the State, the Capital. The Power don't want the artists capacities, intelligence and knowledge to be used in real dissent activities or in real protests. So, since ever, the power is friendly with the artists. They always had a privileged place at the King/Capital court.

We can see the cultural component as the domain of biopolitics, where the power invest in the people's capacities for different reasons - to integrate and assimilate dissent, to softly control the critical discourse, the values and references in society or just to harvest the artists productivity after.

The cultural component can be included in what Chris Hedges calls the soft language of power -"the language of beneficence is used to speak to those outside the centers of death and pillage, those who have not yet been totally broken, those who still must be seduced to hand over power to predators"(6).

The brutal language of power, the war component, the morbid capitalism is the domain of necropolitics, where the power is a dis-investement in life, is more an administration of death, war and brutal exploitation. It is reserved to the periphery of capital in the violent expansion zone where things are turbulent and the power is classical, not subtle, not hidden behind benevolent appearances. The morbid component is for the second world a bit and for the third world a lot.

The morbid component for the periphery cannot exist without the consent of the center, without the cultural component.

And the cultural component, all the financial speculations, immaterial labor, etc. cannot exist without a base, without the classical power, violent exploitation, without the war component for the periphery. In a way all the immaterial labor and the cultural component are more a way to administrate and externalize the death politics in the periphery of the capital. The cognitarians are just the administrators of the very concrete and brutal production that happens in the periphery.

But the periphery is coming closer and closer to the first world. The cuts in fundings for arts, humanities probably means also that the cultural component is not so needed anymore - it is not necessary or it is not working anymore to keep up the appearances, the illusion. So there is a move of the morbid component towards the center. Probably it is better to hope that artists will always be rich...

THE FINAL CRISIS

The morbid and the cultural (spectacle) component put a huge pressure on the subject creating an universal capitalist subjectivity which constantly reinforces the capitalist reality. So it is a vicious circle - a constant unbreackable loop.

The capitalist expansion reached all the populations, all the resources and the limits of the earth. The economic-financial paradigm is omnipresent, addressing the totality of life - at the level of the organization of society through the power of the neoliberal dogma and at the level of subjectivity where probably the last fight, for the most intimate human "resources", capacities, sensibility, intimate desires, believes, is happening now. We can say that the ultimate battle is in the cultural domain which is almost entirely occupied by the economic logic.

Probably in this context if we want to produce a change, first of all we have to go out or against the institutionalized art bubble. White cube and black box provided a bit of oxygen in a stable society and a suffocating environment. They played a function then, they were important. But now is possible much more, the times are changing. We should help that art bubble to burst, the crisis to work. Maybe now, in the crisis there is an opportunity for us to go out from the assigned art bubbles and to use our time and skills to intervene on the biggest stages (mass media, politics).

Maybe is time for art to go where things happen. To interrupt the flow of spectacle, the institutional chain of passing the cultural agenda. Not to listen and even sabotage the administrative protocols in art - the artist has to become a cultural terrorist. "Terrorist" is a label that points towards any enemy, potential danger to the establishment. The terrorist and the little brothers, pirates and hackers are the only ones that are not assimilated and integrated in our society.(7)

And there is an another level were we also should go. If capitalism is modelating our cultural core, we should go at that level too - to radically work, experiment with subjectivity. Not just to play safe in the realm of representation with creativity but to experiment with essential human behaviours, values, perceptions, attitudes. If we really want something to change I think we have to go a bit beyond our comfort and alter the core of our identities. If we are Capitalism, the exploitation, the extinction of species, the climate changes, at least some parts of us have to transform radically or even die. In this sense, maybe we have to embrace a bit of cultural (artistic) apocalypse.

1. See Stefan Tiron, 10 years of beautifying misery in Bucharest http://caminultaucultural.blogspot.com/2011/05/premises-10-years-of-beautifying-misery.html
2. Noam Chomsky, Necessary Illusions, Pluto Press, London, 1999;
3. Michel Foucault, Power/Knowledge, random house, US, 1981;
4. Jacques Ranciere, Art of the possible, http://findarticles.com/p/articles/mi_m0268/is_7_45/ai_n24354911/pg_6/?tag=content;col1
5. Sigmund Freud, Civilization And Its Discontents, Buckinghamshire: Chrysoma Associated, 2000;
6. Chris Hedges, Recognizing the Language of Tyranny, http://jerichorendezvous.wordpress.com/2011/02/07/recognizing-the-language-of-tyranny/
7. See Dorato Action at Pavilion Unicredit as a cultural terrorism example: http://florinflueras.blogspot.com/2011/07/dorato-action.html

Suely Rolnik about the dangers of looting for a capitalist subjectivity (Brazil, 1983)

2011-08-19T23:32:00.001+03:00

The break-out of rioting and the break-in of looting that formed part of our life in Brazil for some months in 1983 is the kind of phenomenon that lends itself to a reading in terms of the processes of singularization with their disruptive potential, but also with their seductive promises and perils. We all remember those times when hordes of people suddenly irrupted into the streets in the big city centers, invading, looting, and overturning everything that lay before them. It was particularly noticeable that at ﬁrst they only stole food, but very soon they moved on to another stage in which they stole anything, sometimes not even for consumption but just for the savor of divesting from the dominant code that free access to things provided.

In this circumstance, as was to be expected, the cities panicked and promptly responded by closing their doors. In the newspapers and on the radio and television there was a procession of deeply worried technical experts and scientists, lay people and specialists, atheists and religious people, civilians and military personnel, intellectuals and business leaders, politicians of the left, center, and right. They all repeated the same refrain: “We can understand that the unemployed demonstrate and demand jobs. Nothing could be more fair and honest. We can even understand that the unemployed an underemployed dare to steal food and clothes—after all, the com-munity owes them at least food and clothing; we can’t let our workers die of want. But stealing jewels, candies, or stereos is rioting. It’s certainly being led by criminals or professional agitators (fascists, according to the left; communists, according to the right). In which case, there is no way that we can let this behavior go unpunished.”

In fact, there were some people who only dared to take clothes and food (in order to work). And it is also true that they were not the real agitators, they were not the bearers of the “breakdown,” despite the importance and legitimacy of their struggle. The disruptive effect lay in the gesture, made up of humor and violence, which shattered a certain conception of the relation between work and leisure; which shattered the criterion of productivity as the principle of the organization of time and space; which shattered the principle of private ownership of the means of production and consumption—a gesture that did not show respect for a life reduced to hierarchical values organized in accordance with general equivalents, and that manifestly divested from man, reduced to the condition of a neutral support for values dissociated from sensible experience.

And, beyond all that breaking and smashing, what was also broken down was a certain conception of political struggle that reduced it to a polarized confrontation between interlocutors authorized and recognized by a state machine. The disruptive effect lay, above all, in breaking away from that dependent, infantilized, demanding posture, a “weaning” from the state as a universal provider, a privileged interlocutor, a certiﬁed translator of all desires. In the tumult of the rioting, what seemed to be shattered was basically the mode of production of subjectivity that characterizes contemporary societies.
...
What was unbearable in all this was the danger of the breakdown of the principal mechanisms of the society in which we live. For those who viewed the events in that way, changes are only conceivable on the molar plane, the plane of forms and their representations, whereas each and every change of molecular texture is invariably experienced as conveying a danger of violence and chaos. The preservation of the texture of a particular social order is confused with the preservation of the social order as such, whatever its nature may be; and, implicitly, the preservation of the texture of a particular psychic world is confused with the preservation of the psychic world as such. In other words, what was confused in this case was the preservation of a particular ﬁgure of oneself with the preservation of one’s supposed essence. From this viewpoint, the rioting conveyed something much more violent and distressing than having one’s property looted. The fear of losing houses and objects is nothing in comparison with the terror of losing oneself.
...

Excerpts from Félix Guattari and Suely Rolnik, Molecular Revolution in Brazil, Los Angeles: Semiotext(e), 2007

DORATO ACTION - PAVILION DISCREDIT

2011-07-17T03:42:00.002+03:00

The 'Presidential Candidate' was happy when it got the invitation to participate in 'Just do it. Branding biopolitics' exhibition in Pavilion Unicredit space.

At Pavilion Unicredit one encounters :

Radical left, comunist, anarhist texts – in reality, corporate atmosphere, clear hierarchy and chain of command;

Exhibiting texts and works which critique authoritative power positions – in reality, using any means of authoritative power – may it be academia, prestige, lengthy self-eulogizing biographies;

Texts which critique mass-media manipulation – in reality, using the same tactics of manipulation, disinformation, denigration, attack against anyone who critiques their institution;

Statements for institutional critique and artists’ absolute freedom – in reality, censoring artists which through their works critique the context in which they were invited - in this case, Pavilion Unicredit.

Texts and works which condemn exploitation and neo-slavery – in reality, the exploitation of artists’ work;

Praise for the bank that funded the art institution - artists are not payed, but they are asked to write everywhere the name of the institution in capital letters: PAVILION UNICREDIT.

It seemed a clear case of anarcho-corporate schizophrenia, the perfect context to challenge the politics behind the so called political art.(1)
But, of course, things started to go not so well after telling Pavillion Unicredit what we planned to do and we sent the following text for the exhibition publication:

The Death of the Romanian Presidential Candidacy

The Presidential Candidacy project is dead! Long live The Presidential Candidacy artistic project!

The Romanian Presidential Candidate is happy to announce that the political project has finally arrived home - Contemporary Art. Here, with the support of the State, corporations or banks, is still possible to be political, to do political art. We are happy to exchange the grey, boring and ugly world of politics for the beautiful, free, open, creative, flexible, progressive, white, clean but also critical, radical and political world of art.
The Candidate

After some attempts to control our work, we were kicked out a couple of days before the opening with an email directly from the director, Razvan Ion, even if he previously stated that he would leave all the decisions to the curator, Simina Neagu.

But we decided already long time ago to not respect anymore the institutional power to mark the separation between invited/uninvited artist. In the Romanian Dance History project we reserve the right to perform on stages or present our work in art galeries without any invitation or approval, we decided to take control of the artistic spaces, to not be always framed, programed, curated, etc.(2)

Now we wanted to go a step further, to make all this dynamics visible by reversing this logic - to reverse the hierarchy in which the artist serves the institution: instead of acting under the institution umbrella. the artists can now be the ones framing the institution.

We anounced everywhere the opening of 'Just do it. Branding biopolitics' exhibition as a Presidential Candidacy event. Basically we took the event, we reframed the opening and the exibhition as ours. We started a promotion campaign and we invited the people to come to celebrate the opening with us and with a glass of Dorato champagne. The Dorato champagne is a good looking bottle but with a very, very cheap and dubious content. (around 1euro/bottle)

Furthermore, we announced that will be a special opening, since people were invited to see the opening as our performance. Fortunately it turned out to be a very interesting spectacle. The tension with the Pavilion crew built up so much before the opening that they exploded when they saw us entering with the Dorato champagne bottles in our hands. The show started with the Pavillion crew, led by its director Razvan Ion, screaming and pushing us out of the door in front of the shocked audience that didn't really understood what was going on. It was a big scandal, at some point the Pavilion director, who coordinated everything as a perfect general, put one of the employees to throw the seized bottles down the street (precisely at the entrance of the underground pasage). Some of the Dorato bottels felt on a car and the driver arrived furious and eager to see who was the idiot that did such a thing. In other words, it was a mess.(3)

A scandal is a moment when something is revealed, something burst publicly. It is a context in which the hidden or unconscious power relations become visible and important: a moment of the real, when things are exposed.

We just created the conditions for the real politics reveal, almost following the classical ready-made principle. All the essence of the anarcho-corporatism schizofrenia of Pavilion Unicredit's directors was there in front of everybody's' eyes. The Candidate accomplished his intention, now the contrast was made obvious: the political art on the walls and on the screens of the gallery and the real politics at work visible in the scandal.(4)

1. Here I wrote more about contemporary art situation: http://florinflueras.blogspot.com/2011/08/morbid-side-of-culture.html
2. See Romanian Dance History project: http://rodancehistory.blogspot.com
3. See Valentina Desideri's description of her experience in that evening: https://docs.google.com/document/pub?id=1BbrXUGooOqIIlfpZMYy3PIUi68UC0R7b0A7Z7IaPV1A
4. See also another similar cases with artists that tried to collaborate with Pavilion Unicredit: http://art-leaks.org/

Discussion with Franco Berardi Bifo about the Presidential Candidacy project

2011-07-03T11:43:00.000+03:00

Bifo: You underline awareness as the "main word". Don't you think that impotent awareness is kind of masochistic? What's the use of awareness when conscious collective action seems impossible?

Florin Flueras: Probably the impossibility of conscious collective action is because too much unconscious collective action - too much production, agitation, too much immersion in the official perception of the reality, too much involvement in the consumerist-capitalist religion.

Maybe for a conscious collective action the first thing that we have to do is to make space by stoping the unconscious collective action. A moment of paralyzing awareness can be good - a total stop, a total silence, a zero moment.

You have announced your presidential candidacy for the next elections in Romania. What's your aim? What's your program? Do you want really to change the political course of Romania?

We are a group and we mainly come from performance/contemporary dance. At some point we couldn't avoid anymore to raise a fundamental question for our art. What is the point to do our performances in the theatre, what is the point to add another spectacle in this society of generalized spectacle? Based on this question we started what we call postspectacle practice, with the intention to go with our skills and knowledge as performers and makers on the main stages - mass media and politics.

The candidacy is a mean to enter in the official debate, to get on TV basically. We don't go on TV to announce an alternative or another program; we go to expose what is behind a program, how a program works, to expose and to play with the spectacle of power and with the power of spectacle.

We don't enter in the political life because we have a solution. We enter more to raise the avoided questions and to deconstruct the official solutions, to make space, to create the premises for collective intelligence to manifest.

We don't have a plan because planning implies a logic of authority that we want to question. We see every day the unhappy results of planning the lives of the people by the state or corporations. People have the capacity to organize themselves if they are allowed to (as the workers that occupied the factories in Argentina proved, and many other communities when a vacuum of power has occurred). So maybe we can say that our plan is to un-plan. As we said in our announce for the candidacy, we want the power in order to dissolute the power.

We are very aware that first of all we cannot win the elections, and if we do, it doesn't matter. You don't do politics in Bucharest these days. You can see constantly how IMF functions as a kind of super ego that regulates the entire political and economical life of the country. So the democratic game doesn't mater as long as policies are made in supra-democratic structures like IMF, World Trade Organization, World Economic Forum, etc. What they call politics in Romania is the following of the directives of the supra-democratic structures and a bit of a provincial mafia administration and fights for the leftovers. Basically they take their commissions by selling the politics and the economics of the country.

The power becomes more and more verticalized and globalized and the authority becomes more and more complex, integrating the means of discipline, control and management of perception (means of producing auto-control - the interiorized authority). There is not a passage from disciplinary society to society of control, to arbitrary power, it is an accumulation - all kind of coercion coexist and amplify each other, shaping a power that reaches the limits of the world and the core of the subjectivity (exploiting or make us to self-exploit our souls, how you very well point out).

It looks like we are definitely lost. No possible plan, no possible solution, no hope. There is nothing to do but something must be done. We give up hope and in the same time we can somehow (secretly) believe in an event, a miracle or at least an apocalypse.

Can you describe the current situation of the young generation in your country? What are the labour conditions? What the average salary of a young worker?

The average fee in Romania is around 360 euro/month. Better for the people that work in informatics (majority young) average 850/month.

It was just voted the new working legislations and they are proud about its flexibility. But basically it is a flexibility for corporations, for employers to dispose even more and easier of the time and life of the workers, to be able to fire them easily and to overwork them. Basically the rights of the workers are decimated.

Romania is a clear case of a Second World country situated somewhere between the first world where the power invests in some people’s capacities in order to harvest their productivity after, and the third world with its brutal exploitation, fordist production, etc. So you can find something close to the third world sweat shops but also the first world immaterial labour.

How large is the space of cognitive work in the Romanian economy? Can we speak of a precarious cognitariat? What is the salary of a school teacher?

They reduced a lot the salaries for education. The perception is that you are a kind of loser if you work in the pre-university education. So the people avoid teaching and the quality of education is going always down.

The salary of school teachers are between 180 euro and 380 euro in pre-university education. In the Universities can go much higher, like 4000 euro/month in some cases (they were scandals on this issues).

I don't know statistics about how much cognitive work we have. But I can give you other statistics that I think can say something about this issue. Romania has the highest speed of internet in Europe and the first place for internet illegal activities too. Another curious thing is that Romania is the only country from Europe where the law that oblige internet providers to save personal information from people (emails, etc.) it was not approved.

We can speak about a generalized precarious life here. The people that have a job are afraid that they will lose it. And the others are improvising on the spot, each day, to survive. The official debate is allot around how to get rid of state employees, what is still possible to privatize and how to cut what we still have from education, healt care, pensions, etc. Like almost everywhere we assist at the killing of the social state.

What is the mind-scape of the young generation? Which kind of drugs (legal, illegal) are prevailing?

The main drugs, like everywhere in Capitalism, are coffee and allot of alcohol. Coffee to push the productivity, alcohol to kill the little free time and any possibility of a scary moment of lucidity. For the marginal people there is heroin, and for the very marginal the aurolac (a cheap paint inhaled from a plastic bag). I heard allot about people that take Xanax (anti-panic and anti-anxiety pills) and anti-depressives, but I don't know statistics. But I know a statistic that says that generally Romanians administrate themselves legal drugs when they are sick, without consulting a doctor (too expensive).

In general the mindscape is more and more shaped towards right wing, neocons directions, by money and propaganda that gives astonishing results. There is a very toxic mixture of nationalism combined with orthodox religion, racism, homophobia, etc. And this is growing and growing.

The other big tendency is a more centric one, perfectly represented by people from the creative industries. People that are cynical, not interested in politics, "against any ideology" and activism. They are into a life style copying the kind of Berlin atmosphere, parties, drugs, etc. But in practice they are not apolitical at all, they actually are working in creative industries like publicity, etc. - at the core of neoliberalism. And behind the attempts of cool, fashionable, original appearances, the majority shares a very conventional, mainstream and political ignorant perception. They use social networks mostly just for self expression and party events. This category consumes, besides the coffee-alcohol, also ecstasy, cannabis, cocaine, amphetamine, etc.

The people invested so much in the Capitalism dream during the dictatorship, that now the confrontation with the real is totally overwhelming. The delusion is too big. No more revolutionary energy. It was consumed, discharged in 89. Now it is apathy and depression.

But there are good sides too. From many points of view seems to be more potential, the capital is not so well organized, there are gaps, the reality and capitalism not totally coincide like in the west. And there is a special understanding in some people, because a change in political systems and official discourses like we had after the revolution can create awareness and a distance from any political system - skepticism towards the power and its solutions in general.

Some months ago we heard voices of a student's movement in Bucharest. How did it evolve? What is the condition of school, and of the university in your country? What the effects of neoliberal politics on the educational system? Do you see any sign of student's consciousness and self-organization?

What you heard was the protests of workers and pensioners, when the government cut 25% of salaries of state workers and 15% from pensions. Is an atypical situation, the most revolutionary generation here are the pensioners, they continued the protests for many days. From this point of view the students appear more conventional and conservative than police - while everywhere in Europe students were beaten by police, here one of the most radical action it was the police protest and strike.

The leaders of the student unions are part of a very corrupt system, similar to the leaders of working syndicates, they are in close dubious relations with the political parties and usually they enter in one of the parties structures after they finish school.

There is no sign of political consciousness and self-organization... It seems that the school works perfectly in creating conventional thinking and obedience. The recent neoliberal policies will complete what is already a disaster. A school in which study and education is not possible, only a dressage for interiorizing the authority and a preparation for exploitation.

How can artistic action interfere with the social process? How can an artist or a poet produce changing effects on the social sphere?

After the capitalism expansion reached all the populations, all the resources and the limits of the earth, now the fight is for the most intimate human "resources", capacities, sensibility - we can say that the ultimate battle is in the art domain. So I don't see so much art as a weapon for fighting Capitalism but more as a battlefield. A battlefield that unfortunately is alredy almost entirely occupied by the enemy, the economic logics. The power domesticated and almost entirely integrated the art and the artist.

In Romania during the Communism period functioned what they called "the resistance through culture". In the sense that some artists, writers, didn't compromised to praise the dictator, but at the same time they didn't take any risk, they went with the regime doing their art and now they pretend that they were dissidents. They are very badly judged. They are called 'collaborators'.

But now is it not the artists that legitimize Capitalism? The artist is in a chain of economic-political power relations. He's the subject of a pressure from above - curators, programmers, which are the subject of a pressure from politicians or banks/corporations (a soft invisible pressure via access to funds). From this point of view the artist is a link between officials and subjectivities and their knowledge and sensibility is preferable to work for power than against.

If we really want to do something, it would be a bit less comfortable, less safe - we have to assume the risks of loosing the artistic privileges and to be exiled from the official art, from the court of the Capital. If we want to produce change in the social sphere first of all we have to go out or against the institutionalized art bubble. To interrupt the flow of spectacle, the institutional chain of passing the cultural agenda. To not listen and even to sabotage the administrative protocols in art - from artists to become cultural terrorists.

"Terrorist" is a label that points towards any enemy, potential danger to the establishment. The terrorist and the little brothers, pirate and hacker are the only ones that are not assimilated and integrated in our society. Maybe now, in the crisis is an opportunity for us to go out from the assigned art bubbles and to use our time, skills and knowledge to intervene on the biggest stages (mass media, politics). Maybe is time for art to go where things happen.

Another possible alternative is for us to become saints, prophets, mystics. What I want to say with this is to radically work and experiment with subjectivity. Not just to play safe in representation with creativity and fantasy but to experiment with essential human behaviours, values, perceptions, attitudes, states of mind, sensibility - so radical that it become religious. If we really want something to change I think we have to go a bit beyond our comfort and to alter the core of our identities. If we are Capitalism, the exploitation, the extinction of species, the climate changes, at least some parts of us have to transform radically or even die. In this sense, maybe we have to embrace a bit of (artistic) apocalypse.

Financial Soul

2011-01-20T16:24:00.005+02:00

Financialization is a term used by economists to describe one of the main characteristics of the late Capitalism - the tendency of the financial instruments and corporations to dominate the rest of the industrial and agricultural economy and even politics.

In the past the Divinity was the dominant force in culture and the soul was the term that pointed towards the core of subjectivity, being transcendent to personal-psychological identity and related with this exterior Force.

What happen with the core of subjectivity, let's keep calling it "the soul", when the dominant transcendent force is financial? What kind of subjectivity emerge through this financialization of values, behaviors attitudes - of life? We can speak about the emergence of a financial or financialized soul in our contemporary culture?

We are living in a so called post-ideological, post-believe period. But there are two types of ideology: an explicit ideology - one that you are aware of, and an implicit one - one that is unnoticed and expressed in our "free choices", behaviors and attitudes... Like the core of values and beliefs that we all have even if we are not aware of them. So, what is the contemporary religion that runs mostly unquestioned in the background of our attitudes and behaviors? What is this 'religion' who constantly produce and administrates the financial soul?

Why not to approach the financial logic and corporate behaviors from a religious point of view and to look at the core of our attitudes, daily activities and hidden religious/ideological believes, from the perspective of financialization. To put in relation financial capitalist behaviors and practices with the religious ones. To expose how the ideology is reflected in our practices and daily behaviors as well as how the practice creates the ideology - to wok at the level of somatic politics.

Postspectacle Practice

2010-12-10T15:34:00.003+02:00

Postspectacle practice is an ongoing questioning process that deals with performance and its political connotations. It addresses the changes that are taking place within representational arts in particular and in cultural practices in general. In a time dominated by spectacle, performing arts have to reconsider their role - and their power - in society at large. In this world of generalized spectacle, what’s the point to add another spectacle in the theatre?

Postspectacle Practice extends in 2 different directions:

1.In the theater we propose alternatives to spectacle.
- bringing in the theatre the "outside spectacle". The idea is to produce friction between contexts/conventions/languages like we did with the military performance (a military drill on the dance floor). http://www.youtube.com/watch?v=_dICPoZGObQ
- opposing spectacle - if entertainment dominates the mass media and politics maybe we should bring in the theater serious stuff like political theory, critique and cultural deconstruction.
- hacking the big festivals and big art events, as we did with The Romanian Dance History, trying to reveal the logic operating within art institutions and the way values are confirmed and affirmed, as well as the artists value and prestige. http://www.youtube.com/watch?v=AupKHQL-UgM

2. Performing on the big stages
The second direction is to use our performing skills and knowledge on the big stages of politics and mass media, as we did in the TV performance 2012 - ‘Ultima Apocalipsă’. http://www.youtube.com/watch?v=W6qxqKXoi6Y
Moreover we decided as the third part of the postspectacle trilogy to run for president in Romania. We have, since 2009, already made a few interventions and campaign events. The elections are in 2014 but we need that time to organize, explore political practices and make it into the official realm of power as politics as a legitimate candidate. For the postspectacle practice the most important goal is to gain access to these areas and set up actions which deconstructs rituals and create awareness of these charged contexts and also (with the presidential candidacy) to affirm new subjectivity paths and reaffirm politics as an open field of negotiation.

Postspectacle wants to release the accumulated spectacle. The spectacle locked the creativity, performativity in a far away, safe, distant, inoffensive bubble. Spectacle is a commodity that you can consume, or it can consume you, in theaters, on screens, in politics, etc. Postspectacle is when the bubble is breaking and the reality comes in your face.

I'm the Romanian Dance History and I'm a terrorist

2010-09-01T03:03:00.005+03:00

The Romanian Dance History doesn’t wait politely in line when it feels to enter the stage and participate in an important dance festival. The Romanian Dance History despises the hierarchical protocols of validation and presentation of art and chooses to terrorize all institutions, authorities and hierarchies. The Romanian Dance History definitely prefers to do cultural terrorism than art. The Romanian Dance History is not something that you should identify with or be proud of, it is more something to be afraid of: beware!
So when you are ready, go on stage and say I’m the Romanian Dance History and I want to start a revolution tonight, and do it…

the candidate speech in the romanian dance history shop

2010-05-28T16:23:00.023+03:00

In general our ways of thinking and functioning are very much influenced by the culture, tradition, education and everything that comes from the past. The tendency is to let history answer the problems.. To search for models, values, norms and principles in history, all based on the past..

We cannot allow this anymore.. This model (pattern) works perfectly only in a stable, secured situation in which there are not so many fundamental changes. In a situation in which the grandparents and the nephews share the same world.. There the solutions from a generation can be applied easily to the next generation. In this kind of contexts it was the job of all the religions, cultural and artistic institutions to pass the values, beliefs - the cultural frame, the operating system from a generation to the next.

Now we are living something completely different.. something fundamentally new happens, a fundamental transformation occurs.. Even if you look at the statistics, almost all the parameters that shape our world are changing in an exponential pace. We are in an exponential accelerating transformation process. So in this case the old pattern of transfering knowledge, values, attitudes and behaviors can be actually the biggest problem, not the solution.. Because it stops adaptation and evolution..

The problems that we are confronted with are radical, fundamental and the answers are weak, unaware or with bad intentions. How Bifo said - only a mad doctor will propose the problem as treatment, but the mad doctor hapens to be at White House.. So the general frame about the crisis and solutions of crisis is set from the top of the hierarchy. The power try to save itself at the expenses of the periphery. Banks and corporations at expense of the ordinary slaves, the old empires or colonial forces at expense of second and third world. The capital at the expense of precariat. Externalisation or a better term gived by marina grizinic - Necropolitics. But there is aso a good point in all this - at least the differentiation between the chosen ones and precariat will be more visible, the true intentions will be manifested..

Our subjectivity is constructed and consolidated in the ideology, especially by a neoliberal frame of mind, how marina griznici put it, the reality and capitalism coincide. The terms biopower, cognitive capitalism, discipline society, society of spectacle, society of control, arbitrary power or the concept of the Empire of Negri and Hardt are trying to catch this new manifestations of power that are so diffuse and are operating freely at the base of our individuality. The power becomes more perverse, more ubiquitous and probably impossible to stop. Our core structures are corrupted and the instance of control becomes an interiorised authority.

The human as a construction of history, of the past, lives his agonizing apocalypse.. we are living an apocalypse because everything that we know in an increasing pace will not work anymore, the institutions, the ideologies, the policies are becoming obsolete.. how Franco Berardi put it - we just entered a catastrophic morphogenesiss.

It is crucial to have the force to see this as a positive fact. The "human" values, beliefs are the cause of the crises. We have to go further, to surpass the human condition. A radical, basic reconfiguration is needed anyway. How Zizek put it - to accept the apocalypse first and after to see what can be done..

There is not a saving ideology, the problem is overwhelming, we don't know what to do but we know that we have to move on, to change radically. Let's start by being aware without having a masterplan, avoiding the corrupted solutions from old ideologies that pop up everywhere. Let's see where we arrive, to not be afraid of testing, of risking our obsolete human nature. If you manage to produce a mutation you create possibilities for others too. There is nothing to hold on to. We have to produce disidentification when it is still possible. If it is still possible and we are not completely submitted already. Let's urgently start to create new subjectivities, to go posthuman.
So give up hope and enjoy the collapse!

Cooperativa Performativa

2010-05-22T14:18:00.001+03:00

Before (concept)
Maybe in a process the most important thing is how to work, to find a concept for working, in order to do something interesting, "new", you have to challenge the means of production..

The Cooperativa Performativa intention is to use the unpredictable interaction between more processes that are meeting in the same space and time, in order to create new dynamics - a synergic system (a system in which the processes are amplify by the interactions, evolving together and the result mysteriously is bigger than the sum of the components).

Cooperativa Performativa is a frame for a group of persons to collaborate so that each one to develop his own project. A very practical working protocol: less space, one studio for developing five pieces; less money, with the money for a project we did five; multitasking - we where involved in five projects simultaneously. One motivation was that each of us to develop in his direction instead of correcting/compromising our desires in order to find a common sense. It was a frame designed especially for the possibility of disagreement, to avoid the endless negotiations for arriving inevitable to the lowest common denominator.

Can be an alternative to the old models who encourage that products and information should be guarded, kept secret, and used as a means to separate for competitive advantage.. is based on openness - the possibility to transfer materials, knowledge, strategies, methods between processes and to start from not knowing place - to allow that this complex situation of connecting processes to find a way to work..

Seems to be in the air now this shift of focus from unit, product, towards connection, link, relation. in a relation the other is not so predictable like yourself and this force you to go out from your territory .. Cooperativa Performativa wants to provide the frame for the situation of being lost in the process to appear, to deliberately lose the control of the process in order to can go in unknown. to work indirectly towards the product, to go sometimes out from your knowledge and practise.

Cooperativa Performativa operates in order to question/challenge things like: art institutions attitudes of putting the artists in a competition situation for founding or visibility. Proprietary feelings and copyright attitudes related to own work. The necessity of governance or of an hierarchical structure in a group. The classical ways of collaboration oriented towards a product and based on agreement, negotiation and compromise. The importance of originality and creativity and of protective attitudes towards them. The question is what is the main motivation behind doing a work - success or a genuine interest, if is second you are interested to share and to copy, you don't care about protecting your "originality", your territory.

After - Sect Mentality exposure:
In every (closed) community there is a sort of unquestioned hierarchy, dominance, influence. Cooperativa Performativa frame based on decentralized, non-hierarchical collaboration entered in conflict with this "establishment". Personal conflicts, artistic rivalry, group status, dominance, hierarchy are some of the layers activated by our proposal.

Usually in a community there is a tendency to form a clan mentality based on unquestioned common believes, values, attitudes, prejudices and unconscious influences. It is commode to interiorize the values, attitudes, behaviours and to function "intuitively", "naturally", or based on "what you feel"... but running in the background the operating system of your group, having all the time a "moral" bio-cultural authority behind. Based on this authority easily judging, give verdicts, take decisions. It's a very simple way of thinking, it tells you what is good/bad, correct/incorrect, moral/immoral. One of the ways in which this protectiveness is manifested is by killing the open discussion, in order to solve the problems inside the frame, on safe territory where everything is a common moral, instance, unquestioned just applied. This mentality instantly tells you who are the friends and the enemies. The sect mentality and moral operates for protecting the property, for teritorrialization, not around real relations or feelings. Probably because of the long history of hierarchy and authority in the communities, the power relations are deeply biological and cultural inscribed.

People do everything to protect their way of life and their level of comfort. If you don't want to change and you don't want to become irrelevant the only solution is to conserve your status and position by other means, like putting down the others in order to be equally weak. If you cannot update yourself the solution is to block the others development too. We had this experience with some artists from an old generation - the critique was received as a personal attack, they closed all the time the dialogue. I call this "ianegic complex" (named after a Romanian dance teacher who reacted aggressively to new tendencies, in order to protect her importance in the dance community).

So beyond the artistic production the project created awareness about the social-political relations in our group-community. As a way of production was very interesting and succeeded to create different dynamics, etc. We had a quite unpredictable process, inventing the working methods on the way. As a result we developed five performances not very similar, in my opinion. I don't know if it is something in common in the end in our works. According to some feedbacks, at three of us was visible a common interest in finding a direct, open and relaxed way of approaching the audience and in the dissolution of convention - a specific ideology or mentality about theatre and performance. The problems in our process appeared just when we dropped our concept - that each of us to develop his own thing in our meetings - and we tried to do something together as a group, to find agreement and common decisions.

cooperativa performativa vs. the secret dance sect

2010-05-12T12:46:00.005+03:00

A scandal started when I published an interview that analysed our process during the Cooperativa Performativa project by pointing some extensions to society and politics. Aggressive attitudes and some hysterical reactions appeared in the community. In analytical psychology this overreactions are clear signs that hidden complexes and problematic points are touched. I didn't wrote nothing new, nothing that we didn't discussed before, so the scandal must be related with the public image, social appearance and all what is associated with this - social status, power and influence in the community. Is very interesting to observe how the proposal of challenging the hierarchies, influence, property, dominance in artistic context was extended in our personal life and now seems to be extended in the dance community.

Stere Popescu a Romanian choreographer active in the 60's followed very closely the cooperativa performativa activity, especially the present scandal between us, extended in the dance community too. He's known for his entire life research on scandal and he is a convinced anarchist. Anyway we figured out at some point that he uses twitter in order to reflect on our process and especially on our scandal, to give us some messages, advices and even some instructions. We all follow him on twitter because he's a living legend of Romanian dance history.

There are some rumours that he felt in love with a cooperativa member. And some say that he's observations are irrelevant because he was too subjective or he just followed an hidden agenda. I think that this is a mean strategy to dismiss he's disturbing criticism, observations and insights. The fact that he felt in love didn't change the fact that his observations were true, insightful or provocative. I can see his twitter stream as an interesting and of course subjective documentation of our process. Is interesting how each tweet function independent but also can make sense together with the others. Twitter was also one of the influences for cooperativa concept as a model for a decentralized, anarchic, sharing and network based culture, so i think that can be interesting to see his twitter stream..

But before that is good to mention that he sometimes use his own cryptic terminology like:

"ianegic complex" - named after a romanian teacher and choreographer known for her excessive protectiveness, territorialization, aggressive rejection of new tendencies and also for her behaviour of not saluting and displaying strange grimaces to her artistic enemies (the avant-garde).

"sect" - he affirms that a part of our dance community functions based on unquestioned common core of attitudes, believes, values and behaviours, in order to reinforce some practices and to protect artistic territories.

"dated" - Stere use quite often words like old-school, out dated.. He believes that we are in an accelerating evolution/change period. The things are getting quicker out dated and this enhance the tendency of people to be stuck in the "old" patterns of doing and judging things and also the tendency to identify themselves with the old solutions, to protect them aggressively and to force them upon new situations.

"sedative art" - he calls like that a large part of art practice that is politic unaware and because of this, is perfectly integrated and assimilated by a consumerist-capitalist-neoliberal frame, functioning like elevate entertainment for the system. He oppose this term to "radical" or "terrorist art".
Stere's twitter stream about cooperativa: http://twitter.com/sterepopescu

"products and information should be guarded, kept secret, and used as a means to separate for competitive advantage" #dated

don't be ashamed to use your own ideas and call you an artist

morality and social norms are to protect the property, to territorialize, not to sustain the real relations or feelings

training for a cultural terrorist - notice the hidden hierarchy, influence and dominance in your group, speak about it and run...

the power has the monopole of true.. if another true enters the stage is received as aggression and the scandal begins, im happy..

propose a new direction in art with the hidden motivation to upset your friends.. allow the ianegic complex to appear..

what do you protect? your identity? your image? your social status? your commodity? all this will disappear, soon.

the #sect rejects the change because everything is ok, provoke a scandal to allow the good atmosphere to disappear

identify yourself with your group and then you will just know what is good/bad, correct/incorrect, moral/immoral..

the sect kills the public debates and keep things private to can control them secretly in the small talk and gossip activities of community

reject agreement based collaborations as #dated and unhealthy propagation of common sense and prejudices, allow disagreement, be happy

distractions, parties, drugs are so 90's.. awareness, performative activism and cultural terrorism are the new fun..

#dated = your attitudes and values are not questioned and updated, they come from the past and are inadequate and irrelevant to the present

talent, creativity, self-expression, aesthetic, composition and fantasy are easy to remove obstacles for a postspectacle terrorist artist

avoiding normalization is a constant struggle.. and if you are close to succeed the reward is excommunication

find an open and relax way of approaching your audience, pretend that you are better than them..

kill the artist inside of you and feel free to look outside, via @brynjar

we do everything to protect our way of life, our commodity, that's why we are so happy

to be in harmonie with something profoundly wrong is sick, be a terrorist to your own identity - do something regrettable..

sedative art is so boring and overestimated but helps the people to be more attuned to the corporate neoslavery

kill the private, go public there is nothing to hide or protect, everything is acceptable, share your life, the posthuman is near..

radical politic art, cultural terrorism, performative activism are making contemporary dance to look so 90's #dated

@florinflueras you pretend to do "a brave search of the ultimate reality", check the dominance-influence relations in your group

extend open source and deterritorialization into your life and relations, but don't cry after

Sedative Art, Radical Art

2010-04-05T23:03:00.002+03:00

Every gesture, and project is political, the question is if you are aware or not about the political implications. Looking down from a certain altitude there are two big possibilities: to entertain the state of things - the business as usual attitude or to be critical, to expose, attack or change the status quo.

To do good work often means to succeed in the unquestioned accepted, normal frame of doing and participating in art. Sedative artists are working for maintaining the status quo by releasing the accumulated tensions and by quieting down the revolutionary drives, providing entertainment or identification based release and chatarsis. Sedative artists are integrated in the capitalist environment and usually they have a job mentality. They cannot understand the people that are on to something because the sedative art values are the comfort and security/stability. So from this place the others are perceived as ambitious, wanting to prove something, wanting power, money or to push their artistic image. All this because this is the sedative artistic universe and from their point of view is impossible to recognize something beyond that. Is impossible to understand that a person has a passion, an intrinsic motivation to do things, to understand, to provoke, to change. Is inconceivable that someone has a genuine interest in performativity research, cultural activism, awareness, ethics or politics. In their vision there is nothing to desire more than to do a "good" performance, to be appreciated, to succeed and to make a living from it in order to sustain a flat boring life, in which the only highlights are shopping, the drinks with the friends or some parties. The radical artist is perceived as a threat because he make obvious their commonplace attitudes and values, their prolonged mope, their insipid and low-ambitions life, full of "normal" compromises. The sedative artists don't like this, so they associate and try to put him down, to make him small, bitter and frustrated like them, to be all equally weak.

Artist vs Terrorist - do your art vs blow up the art.
Artist horizontal approach -to manipulate the world around us but to not change us, to keep us how we are, to find freedom and to solve the problems in the fiction, in the spectacle, in the art bubble and keep us and the bigger context how they are. There is not a genuine wider interest or critical point of view, just an unaware following of the line that the corporate-state cultural policy prescribes. To be in harmony with something profoundly sick, to be well adjusted in a pathological context is problematic. So yes the conflict is necessary, to resist, to oppose, to criticise. Harmonic art function as a sedative art rising problems is associated with conflictual intentions... So is preferable to be a terrorist in a sick environment - to terrorize the norms, the normality.

Fiction vs Reality
The power has the monopole of true. If another true enter the stage is received as aggression. So the only space left is the fiction. Do good work, fictionalise more, extend the fiction until becomes inoffensive. Everything to be consumed in representation. This is how the sedative art operates. This is how the spectacle is produced. That's why we should move on towards the postspectacle.

Out dated vs New
The evolution paradigm, is more and more justifiable, the things are changing quicker and quicker so you can come to say: "your attitudes and values are not questioned, are not updated they come from the past and are inadequate and irrelevant to the present"

Control vs Unknown - Control is a mean of applying old solution for new situations, to try to push or oppress the new in order to can control, to can predict the results. Unknown is to work all the time with a very clear possibility to "fail". Unknown is about allowing all the time the possibility that something unpleasant to occur.

spectale vs. postspetacle
out dated -new thing
aesthetic -ethic
formal language -performative language
originality -awareness
creativity - critique
self-absorption - detachment, distance
talent -interest, concern
composition -direct communication dramaturgy -discourse
good, beautiful, entertainment -relevant, radical, impact, provocative rehearsal - investigation
artist -hacker, activist, terrorist
official culture - cultural terrorism teritorialising - change
art -life, politic
control -unknown
(self)expression -transformative procedures

excerpts from an interview with me about cooperativa performativa

2010-03-25T18:52:00.002+02:00

by Valerie Oberleithner for Corpus Vienna

(with a special request to provoke and to not hesitate to mix reality with fiction..)
...
Who is the leader, and does everyone share his/her vision?
In the concept there is no leader. But unfortunately we had a parallel power issue going on all the time because we mixed the working process with our lives and we involved real feelings and conflictual relationships. The power problem associated with the masculine-instinctual-ego image was there most of the time. Actually in some parts the „ artistic“ part was secondary and the focus was on dealing with power related conflicts. The politics, the governance of the group was an issue almost all the time.
...
Do they do what they say that they do?
Yes, we did more than we proposed - even more than we could deal with. We wanted to challenge property and ownership in the artistic world, but we arrived at dealing with property and ownership in human relations, in couples. Sometimes our process looked more like telenovela stuff. Looking back now, this process dislodged some unquestioned hierarchies and authorities in our small Romanian dance community, and some society taboos too.
...
An open question not on the list: Why all this?
People do anything to protect commodities and the status quo. This is the same for empires like the US which are ready to protect their way of living by attacking everybody, and people who accept being enslaved and selling their time in all kinds of jobs. Couples who prefer to cover up the unpleasant reality and make believe that everything is ok, and artists ready to apply verified and safe models of operation in order not to derange themselves and the system too much. So I think it is interesting to create situations - contexts that can push the experience outside the safe zone.

This situation of taking five persons to develop five different projects in the same time and space certainly can push you out of your territory (skills and means of doing performances). It proved to be an efficient way to challenge our powerful cultural and biological inscribed relation with authority, hierarchy, rules and taboos, even in groups of friends and couple relations. And yes, sometimes it is good to explode a little the boring activity of entertaining, the unchangeable ways of living, doing „art“ and „dance“. It is healthy to feel that what you are doing is mixed with life and can have repercussions and an impact on others, too.

from a strange collaboration debate:

2010-02-08T14:52:00.003+02:00

in this post-disciplinary period is questionable to assign functions and hierarchies to people in collaborations. you expect that the hierarchy, authority, control, power to be words and attitudes out dated, at least in artistic contexts. is strange for me to candidate for presidency of romania with a post-power discourse and to take part in conventional, hierarchical artistic projects.

Excerpts from Jonathan Crary "Spectacle, Attention, Counter-Memory"

2010-02-04T11:53:00.009+02:00

the spectacle as a new kind of power of recuperation and absorption, a capacity to neutralize and assimilate acts of resistance by converting them into objects or images of consumption.
....
According to the Nazi director of broadcasting, writing in 1935, the "sacred mission" of television was "to plant indelibly the image of the Fiihrer in the hearts of the German people."
...

Debord outlined two different models of the spectacle; one he called "concentrated" and the other "diffused," preventing the word spectacle from simply being synonymous with consumer or late capitalism. Concentrated spectacle was what characterized Nazi Germany, Stalinist Russia, and Maoist China; the preeminent model of diffused spectacle was the United States: "Wherever the concentrated spectacle rules so does the police . . . it is accompanied by permanent violence. The imposed image of the good envelops in its spectacle the totality of what officially exists and is usually concentrated in one man who is the guarantee of totalitarian cohesion. Everyone must magically identify with this absolute celebrity — or disappear." The diffuse spectacle, on the other hand, accompanies the abundance of commodities. And certainly it is this model to which Debord gives most of his attention in his 1967 book.

...
But in 1988 Debord sees his two original models of diffused and concentrated spectacle becoming indistinct, converging into what he calls "the integrated society of the spectacle." In this deeply pessimistic book, he describes a more sophisticated deployment of elements from those earlier models, a flexible arrangement of global power adaptable to local needs and circumstances. In 1967 there were still marginalities and peripheries that escaped its reign: today, he insists, the spectacle has irradiated into everything and has absolute control over production, over perception, and especially over the shape of the future and the past.
...
Are we still in the midst of a society that is organized as appearance? Or have we entered a nonspectacular global system arranged primarily around the control and flow of information, a system whose management and regulation of attention would demand wholly new forms of resistance and memory?

end of propaganda = the end of the world as we know it

2010-01-24T13:20:00.003+02:00

/draft text for yesterday debate at CNDB

media-politics parallel evolution:
-TV in the beginning - big names, broadcasting, propaganda -one channel. ideal for totalitarian regimes.
-more tv channels and sites - very territorialised, corporate based, unidirectional, individualistic approach, somebody speaks in your name - representative democracy;
-blog - more open more independent, still individual and unidirectional, property, territory;
-facebook - close comunities based especially on real life meetings, not based on content but on a kind of tribal instinct;
-twitter - total open, based on sharing, we are all providers of content, part of a bigger thing, is ethical and nice to contribute. anarchy.

propaganda - the base of our way of life, the political systems strongly based on it.. twitter - the best instrument to kill propaganda.. the possibility to dissolute the propaganda constructed frame of thinking (operating system).. from channeled propaganda model to very free one, everyone is a publisher, an author.. internet in real time now, direct not mediate any more.. changing the governance and the hierarchical functioning of information.. a shift of focus from an individualist centred attitude towards network, relation.. is a new paradigm for communication, instrument that will radically change the brain (how the books, cinema and tv did it before).. humans like cells for a bigger collective consciousness.. questioning the functioning of society - a lot of institutions or business models have to change completely or to disappear (schools, papers, tv, government).. every one is a writer, an artist.. is ethical to share not to keep private.. people meet online and action - they decide to go together in one place and start something based on their common interests, courses on twitter, experiments (al to write about a same issue in a same day).. a tool for direct democracy.

draft text for my presidential candidacy announce

2010-01-22T16:57:00.007+02:00

contemporary art wants to be political, but i often find that actually plays safe, all remains inside the bubble.. our intention is to go further, we take a risk and we are going on the bigger scene.. somebody have to do it.. we are anyway aware that, as is written in the constitution, the president represent the state, is just a representation of something much bigger and much darker.. but we are interested in the public appearances of a candidate in the media and important debates.. every candidate to presidency works as a performer, operates as a performer and everything is spectacle anyway.. but is so conventional, so old school, trapped in representation.. they pretend that the illusion, the representation continues to work as usual.. they continue to play the old school spectacle of power.. is time that a contemporary approach of performing to enter the big scene.. now starts the last revolution.. not by taking the power but by dissolving the power..

we are coming to cut the spectacle of power!

a radical solution is needed
looks like the exponential growth is the law for almost all the parameters (climate changes, population growth, debt, species extinctions, energy costs, etc).. the system seems to be close to a limit.. the world is in an accelerating change and they react just by changing the puppet.. they don't change anything, that's why they come to the power to preserve the system.. obama just reinforced the system. printing more money for the banks.. soon we will hit the wall.. follow the money if you want to predict the policy of the president, who supports the campaign..

awareness is the main word:
we feed the all this
you vote when you buy products.. you support some corporations to grow.. and this corporations will made the policies.. and of course the same corporations will control the mass media.. be aware that being in UE we are part of a huge imperial structure that together with US exploits the rest of the world.. be aware that european quality of life is directly linked with the suffering in africa, asia, south america.. we support the imperialistic wars.. everything is connected.. nobody is innocent.. to start to understand deeper the consequences of our actions we need a postnational - the problems of romania are the problems of a global system.. the national or racial separation is the source of conflict.. see the big picture!

the system (propaganda) feed us..
the world, the actual system is sustained by propaganda, (parents, school, mass media).. the models of behaviours, values and beliefs of actual human being are pointed to be the basis of a very complex crisis.. there are unquestioned assumptions reinforced everyday by mass-media.. mass-media and the schools - the main tools for propagating the uncritical thinking.. they provide the collective frame for reading the reality.. even if you don't read newspapers and dont watch tv somebody is doing this for you (your friends, your parents, your colleagues) and the operating systems, the frame come to you.. to be aware that by keeping our operating system we feed the near apocalypse..

change your operating system
stop watching TV, stop reading the newspapers.. use the new media (like twitter)- till now the best implementation for breaking the propaganda paradigm.. personalise your information and be active, have a point of view, dont let the reality in them hands.. lets kill our inner TV, the internalised authority propaganda installed in each of us.. from uniformity to superdiversity..
the end of the propaganda = the end of the world, as we know it.

some practical proposals:
slowly dissolving the institutions.. state is the problem, it functions as a violent, hierarchical and authoritarian structure of oppression.. everything should go smooth. actually is nothing to do in this direction, everything will come down by default if you allow the things to happen.. there is this disintegration of the institutions tendency, they are becoming obsolete.
no political party - there is a strong drive that the political parties to function like oligarchic interest groups, similar with mafia groups. is no need for this hierarchical structure, just independent candidates..
the main education porpose to be the opposite of what now usually hapens - instead of forming to unforming, instead of disciplinate to undisciplinate, instead of listen to the authority to question, critical thinking is the focus - dont trust your teacher..
to abolish the TV and radio tax - and to support the freedom of internet..

now all together - "i represent the romanian state"

postspectacle - postaesthetic

2009-11-01T20:29:00.004+02:00

elie during - the end of the retinal art and the advent of transformative procedures.
sven-olov wallenstein - dematerialization and de-aestheticization - art practice is no longer geared towards objects, but towards "investigations" of critical and conceptual nature (..) the question is not: what is art, but: when is art.
claire bishop - artists are increasingly judged by their working process - the degree to which they supply good or bad models of collaboration (..) the best socially collaborative art does not derive from a superegoic injunction to "love thy neighbor", but from the position of "do not give up on your desire".
oda projesi - interested in dynamic and sustained relationships - not aesthetics.
joseph kosuth - duchamp change the nature of art from a question of morphology to a question of function. (..)
aesthetics are conceptually irrelevant to art.

maximum freedom

2009-11-01T20:05:00.003+02:00

claire bishop - artists are increasingly judged by their working process - the degree to which they supply good or bad models of collaboration (...) the best socially collaborative art does not derive from a superegoic injunction to "love thy neighbor", but from the position of "do not give up on your desire".
oscar wilde - selfishness is not living as one wishes to live, it is asking others to live as one wishes to live.

after cooperativa performativa is uninteresting and frustrating to return to a classical collaboration for where life has no value, death sometimes has its price. is impossible for two persons to have the same perspectives about things and what follows from here are difficult, endless, tiring discussions to convince - a hidden war in which who has better negotiation abilities is advantaged. this approach of forcing agreement by trying to meet somewhere in the middle triggers the process to the uniformity, to the smallest common denominator, to the narrow common perspectives and leads to compromises and frustration. plus this also sounds unethical - to feel that based on personal feelings or intuitions you have the right to decide what the other is allowed to do.

im for totally avoiding the negotiation by assuming that the other one is free to bring whatever he wants into the work - maximum freedom, no censorship, acceptance for the others decisions.. then everything will be dynamic and daring, out of this psycho-managerial boring discussions.. just go for it..

theatre is old and out of function.. but not for long..

2009-10-20T16:03:00.004+03:00

the function of theater is not anymore to tell the story of community or to preserve and transmit cultural behaviors, values and dreams. this was the case in the past when the evolution was slow and the changes from a generation to another not so many. so then totally made sense that what a generation achieved to be transfered to the next one. is not the case anymore, in this times of accelerated change by applying a pattern of reinforcing values from the past you produce just damage. the culture, the tradition is often your enemy because provides old inadequate solutions and expectations for new life situations.
then the theater have to be fundamentally requestioned and differently used. probably the role of theater is not anymore to pass and reinforce the cultural frame, but quite the opposite - to deconstruct and dissolute the cultural implemented patterns of functioning, values, desires and conventions in order to make space for new adaptations and new responses to totally new situations.

"creative" inside the frame

2009-10-03T12:26:00.005+03:00

another draft speech:
in the past a cultural frame for performances functioned for some years, so it was possible just to be "creative" inside the frame for some time, without questioning the convention in which you function (theater, ballet, modern dance, dance-theater, conceptual dance..).
now time is accelerating so fast that in every performance is needed to be re-questioned the cultural frame in which is received. to keep up with the evolution of the cultural reading, to actualize the cultural awareness, seems to be the most important thing in this times in a performance, not the issues, the content, etc. if you try to adjust yourself to the present trends you are already in the past. in order to be in your time you have to continuously reinvent the frame, to go all the time in the future in order to can be in the present.

and another one:
dance is dead. for dancers is very difficult to accept that all their training is worthless, so they still try to do movement based performances. the best thing is just to drop it. from a performative point of view is totally uninteresting this way of controlling and disciplining your body, being focused on physicality and virtuosity of it.

religion is dead and art is ineffective

2009-09-07T20:51:00.001+03:00

/speech draft for a brave search of the ultimate reality:
there is no art or religion that can save you. religion is dead and art is ineffective. there is a huge gap between life and art. we try to symbolize things, to express ourselves but this is a totally old school approach - doesn't work anymore. be direct, if you have something to say just say it, don't hide behind artistic virtuosity, inventing systems and having the sensation of approaching important things. art is not about aesthetic anymore! you cannot bring change if you just entertain the old way of being. we have all kind of cultural constructed systems of approaching performance - certain presences, concentration, judging - "good" or "bad" in function of certain composition, "performance" rules...

also usually there is a need to rehearse something until you are completely prepared, until you can present it despite the audience reaction. to work in order to can avoid the audience confrontation, to create a stable object that stays like a protective wall between you and the audience - a wall that can be more or less transparent, more or less readable or interesting. why to not approach performance like an important meeting - forget about art, just find a way to be there open for everything.

being comfortable and making the things safe kills! escape the frame, kill the convention, liberate, discharge, dissolve the wall, don't think esthetically!!! soul, love, pleasure, human, real, not a technique. not a product to present, something brave and demanding to try. in life we just respond to natural needs and cultural conditioning, and if you take you serious you will continuing to do just that. i want that everybody to become a performer - to do the things with intention and awareness.

performative language - the god language.

2009-08-24T13:55:00.002+03:00

back to the soul, body can be a trap!!! i'm not interested in aesthetic or dance anymore. the body perform much more interesting things than movements, dance or actions - it is the source of emotions, states of mind and presence. this days my focus is on the body - consciousness relation, body as the mean to communicate and work with awareness.

the fiction is the new reality

2009-08-10T15:40:00.003+03:00

in vienna from 12 days, writhed this 3 texts:

the "real" can be experienced just in a fictional context because the fiction is the new reality, the ultimate reality. thats why the performative context is more real than ordinary reality - it is from start honest with the fact that everything is artificial.

the body perform much more interesting things than movement, dance or actions - it is the source of emotions, states of mind and presence.

controlling things based on rules, principles and recipes extracted from past experiences produces unidimensionality and dryness. to start from not knowing in order to make space for new, presence, organicity, complexity and freedom.

approaches of the life-performance relation in time:

2009-07-19T19:00:00.001+03:00

"old school" approach - performance based on interpretation, metaphor, symbol... representation for life. condensed, translated life - a way to reinforce, educate and pass the cultural behaviors through representation - to express the content of yourself.
"contemporary" approach - the performative context used like a parallel space for life, like a safe space in which you can experiment and research life and society.
"future" approach - less and less separation between life and performing. performance - a direct manifestation of life, a more free continuation of life, a context where you can expand the life.

2 ways of being and performing:

2009-07-13T12:37:00.004+03:00

one is to go inside, deeper and to activate some states of mind or a body mechanism, to want to arrive somewhere to achieve something - based on a sensitivity for the body language, focused on improving one state, the presence - to manipulate yourself in order to obtain a certain way of being.
second, more open and more relaxed, to take it easy, go with the things, a research more than an ideal to touch, to go with courage in something and after eventually to see what quality this gives in the body - based on a performative language, focused more on discovering and learning - to become a spectator of yourself and to observe, accept and integrate whats happen.

"i dont know" is the answer

2009-07-13T12:35:00.003+03:00

is very hard to negotiate in the working process and also in my life how to work - how much internet, how much performing, how much conception, how much experience, how much analyze, how much working at presence, how much body work... so i prefer to approach this like how i approach the performative material from a piece, to admit that i don't know what is the best choice for my intention and to accept what appears, to go with courage in everything that came in this void of directions...., and everything that i live during a process can be in the performance. directly - to not try to symbolize or estetiseize.

what is your behavioral repertoire?

2009-06-28T16:48:00.002+03:00

i prefer to say that i work with behaviors, not with movements, not with actions. maybe because when you say behavior you already have a distance, like watching animal planet. also because behavior has a conceptual layer and include the socio-cultural component. but mainly because this perspective helps to move the focus from the mind on what you are doing. escaping the psychological approach in order to make space for a performative thinking.

human consciousness evolution related with media evolution:

2009-05-22T16:36:00.002+03:00

tv > internet sites > blogs > facebook > twitter. from a centralized, hierarchic, propaganda like model of dealing with information to a decentralized, anarchic and free one. from the focus on information to focus on relation between informations.

change your operating system

2009-05-18T16:40:00.002+03:00

its becoming more and more difficult for humans and society to sustain the actual ways of living. all the politics, principles, rules, values, techniques and models of behavior are from the past and now, in this period of time acceleration, every old response become increasingly quicker inadequate. applying techniques that functioned before instead of searching the present answers for present situations is a way of loosing the contact with reality and a way to stop the novelty and evolution. all the old experiences and informations are valuable if are moved from first plan in the background, allowing to new attitudes, perceptions, movements and behaviors to appear.

start from 0 all the time

2009-05-18T13:49:00.002+03:00

the core of believes and values always come from the past so the project is in a way to get free from the history. the moves and actions to not be just a representation and a direct confirmation of the mind setting (to not be motivated and charged from an ideological construct). practical: to start all the time from 0 and let the movements and actions to appear in the present, from the present even if are "wrong" according to the personal mind setting.

personal anarchy

2009-04-05T17:26:00.005+03:00

The anarchy first of all have to function at the personal level. To cease to be controlled by your own values and system of believes. Maybe is not possible to not have them but is possible to not fully believe in them and totally give up to them. This seems the way of freeing your experience from your own mind.

im in control

2009-04-03T20:10:00.008+03:00

I have the need to find a recipe of doing things, of performing. The tendency to be in control, to find the rules and the mechanisms that provide the right experience. But for developing is better to have the courage to use the performing situation for jumping over the actual status quo, to allow the possibility that something totally new to happen even if you loose control. If you are on top of an experience you stop to learn.

always political

2009-03-23T10:30:00.002+02:00

Democracy is changed in corporatecy this means that also the voting process is changed - we vote by buying products. So the most important thing is to be aware what we encouraging by buying certain products. To be aware that ours choices rise or decrease power all the time. This has some undesired consequences - the first consequence is that we created the "monster", we are the "monster". So the change has to come from us and is not a sort of a complicate change of mind is just a simple change in the behavior - our actions to became more aware - to be aware that we always act political.

from psychography to choreography.

2009-03-23T10:26:00.002+02:00

To not choose, to have proposals in real life like in performance, without a reason how you have the initiative to go somewhere to have the initiative to do things like dancing. Is not important to find the best proposal because such thing not exist. To have trust that what appears is the best proposal in the moment and just do it. To finish with my process of trying to decide affective vs performative. The stage ask for awareness, you can do everything if is visible that you are aware of what you do.

more layers, more complexity

2009-01-30T18:23:00.002+02:00

I'm interested to create complexity in what i'm doing, to go away from representation in every moment - an action to have many layers, to go deeper, to rise the awareness, to zoom and to take distance in the same time. To became a spectator at what you do is equivalent to make fun of you, your mind, and the rest of the things. You just stop to take so serious what you do and in the same time this detachment is a real and interesting experience.

authorship question:

2009-01-29T18:31:00.002+02:00

I don't know if I want anymore to lead a project, to have the decision power. I prefer more and more to be lead by the things and to let the decisions to be tacked by themselves. I'm for anarchy - no hierarchy, no authority, no governance, no rules - decentralized process. The piece is not mine, we are all authors or there is no author.

performative religion

2009-01-22T16:49:00.001+02:00

A central thing in the religions is the annihilation of your ego, of your "normal" mind in order to make space for something else to appear. Is interesting how this annihilation of judgement seems to be also very linked with the presence and with the performative language.

performative?

2008-12-02T15:31:00.003+02:00

By seeing and doing performances you activate and develop a performative language for approaching the things. To be performative - to escape from representational mind, to be based on a direct communicated experience.

perform 1 month

2008-11-24T17:56:00.004+02:00

During this continuously performing period the most difficult thing is to keep performing when the things are serious (a serious discussion for instance). This is a tricky thing because you are more detached when you perform and the things became less serious for you, but anyway, sometimes i feel guilty towards the others and i try to not perform anymore, or i just perform an adequate behavior. I perform the normality almost all the time.

anarchy: from 1 to 0 - 0 concept, 0 system, 0 rules!

2008-11-06T21:54:00.014+02:00

I tried to centralize and integrate everything around this attempt to became sensitive to a body affective-performative language. But this actually it was an artificial solution for a real need to simplify the things - a very reductionist, psychi, interior, analytic, mind focused approach. Now i try to not have at all this rules, principles and focuses, to let all the experiences and knowledge to action indirectly without nothing formalized. No general master plan - the moment will chose the right mental configuration. Just perform and the past experiences and understandings will be active by default. Consequence: you don't have anymore in function of what to judge what you do and this is fantastic.

Life as the main project.
I started by taking the inspiration for dance field from how we take the decisions and how we action in real life and now is time to transfer some knowledge back to life. Actually i'm interested to replace the normal attitude with a performative attitude - to perform all the time. Present - to be in what you perform, not in what you have in mind.
A first consequence: a new perspective about what you do, the "normal" behaviors are just one of the many possibles ones - more freedom and not so serious about things.

2008-11-02T15:13:00.004+02:00

My mind simply cannot deal with what i work... maybe from here the stomach pain.

I will write from now in English as an exercise to learn the language.

2008-11-01T12:04:00.005+02:00

De fiecare data cand lucrurile se amplifica in capul meu (recent cu repercursiuni in stomac) e absolut necesar sa fac ceva practic. De la introspectie si propuneri ce vizeaza reconfigurari mentale la obiectiv, exterior, performativ. Cel mai important lucru - ce faci din punct de vedere performativ, acum.
Realitatea e performativa.

2008-09-11T16:28:00.002+03:00

Razvratire, nesupunere fata de deciziile propriei minti. Acceptarea impulsurilor ce vin in minte, dar asteptarea ca deciziile sa se instaleze in limbajul afectivitatii corporale.

2008-07-05T08:06:00.002+03:00

in timp ce asistam ieri la prezentarea cursurilor de dans de la Centru ma gandeam cum in general invatamantul de dans e preocupat de controlarea, disciplinarea si subordonarea corpului. Mi se pare ca dansul ar trebui sa faca exact opusul, sa elibereze corpul. Ma intereseaza demersul invers, nu de la minte la corp ci de la corp la minte, in loc sa ne punem corpul sa ne exprime, sa devenim noi sensibili la limbajul lui - sa-l ascultam.

2008-07-04T16:39:00.003+03:00

Textul din caietul program la insiruirea de litere pe care o privesti acum e titlul piesei noastre de dans:
Acest text intr-un fel sau altul ar trebui sa faca o trimitere la piesa. Indiferent de ce scriu aici, probabil ca exista o corespondenta intre aceste litere si ceea ce facem noi in spectacol, fie si doar datorita faptului ca ambele au legatura cu mine. Din punct de vedere vizual aceste cuvinte arata cam la fel - o insiruire de 1 pana la 12 semne, despartite de cate un spatiu. Fiecare din aceste semne pot fi privite ca liniile unui minidesen - cuvantul, iar textul in intregime drept o compozitie vizuala. Privind astfel, aceste cuvinte nu sunt mai logice din punct de vedere al unui limbaj vizual decat urmatoarele: wwmnuv> llii!!-1J, ))((=Sll EEHOIK ciooo!n~ sss{.} xkyz.x vuuoQ0() ++++[].

2008-05-29T03:01:00.002+03:00

Scopul sensibilizarii la afectivitatea ce vine din corp nu e de a face miscarea mai expresiva, bogata sau organica ci de a ne schimba starea de constiinta, perceptia, raportul cu lumea. Miscarea pierde importanta formala, estetica si devine foarte functionala, ne modifica modul in care experimentam corpul si lumea.

Dans experiential - experienta performerului primordiala - simtita prin empatie de public. Astfel ce se comunica e in primul rand o experienta, nu un continut informational - spectacolul iese din zona reprezentarii.

2008-03-16T16:39:00.002+02:00

Kula-Arnava-Tantra (1.96-97): http://www.traditionalyogastudies.com/wordpress/?p=427
Ignorant of the Truth within himself, the fool is infatuated with books, like the dull-witted shepherd who searches for a goat in the well when it is in its enclosure.
Verbal knowledge is of no use for overcoming the delusions of the world, just as darkness does not cease to exist merely by talking about a lamp.

2008-03-09T18:11:00.001+02:00

Acu cateva zile in timp ce stateam pe o banca in Cismigiu a trecut pe alee un copil alergand in zig-zag, cu capul usor aplecat intr-o parte. Am realizat ca e mult mai liber decat mine din doua motive: pentru ca mie mi-ar fi foarte greu sa ma “pretez” la un astfel de comportament; si pentru ca eu as judeca destul de aspru un adult care ar fi facut la fel, probabil l-as fi suspectat de nebunie.

Ca oameni normali avem anumite reguli sau moduri eficiente de a ne deplasa, pentru noi nu mai are sens sa alergam in zig-zag, e nebunie, nu are nici o utilitate asa ceva, e illogic. Ori ne grabim si atunci alergam cat mai direct spre tinta, ori nu ne grabim si atunci ne plimbam “normal”, sa luam putin aer. Totul are o utilitate si o denumire, stim ce si de ce facem, comportamentul indeplineste o functie. Undeva pe parcurs se pierde necesitatea pentru acel gen de comportamente. Cel mult le-am mai face ca sa ne prostim, ca pe o “nebunie”, lumea si logica noastra matura nu mai cere asa ceva.

Pe langa disparitia necesitatii interioare functioneaza foarte puternic o presiune a normalizarii. Un fel de cenzura sociala – suntem constienti de faptul ca ceilalti ne judeca si ne interpreteaza actiunile prin aceasta logica a functionalului si utilitarului. Aceasta normalizare are un efect inspaimantator – e dovedit stiintific ca 95 % din comportamente sunt automatisme, scheme de comportament si de miscare cunoscute la care apelam. La fel si cu perceptiile, pentru majoritatea lucrurilor din jurul nostru avem deja o denumire, putem categorisi tot ce vedem, si o si facem.

In prezent lucram in doua directii: pe de o parte sa largim cat se poate de mult sfera comportamentelor, actiunilor, miscarilor normale si pe de alta parte sa oprim, anulam nevoia de evaluare si interpretare a privitorului prin prisma acestei presiuni a normalizarii. Intentionam sa atacam frontal aceasta nevoie de interpretare. Ma intereseaza producerea unui efect de contrariere - o suspendare a logicii, a sensului, a evaluarii, sa fi putin alaturi, intrigare, ruperea logicii, mai multe logici, disociere, sa deturnezi, sa iesi din schema, sa destabilizezi. Urmarim acel efect de reimprospatare a perceptiei ce se obtine la contactul cu o noua experienta, acea “trezire” ce apare si la performer si la privitor, cand se iese din schemele de comportament si perceptie. Cand se opreste lumea asa cum o stim noi, logica obisnuita nu mai functioneaza ci o alta aparent straina si totusi foarte familiara pentru ca e tot a noastra, poate mai a noastra.

Vreau ca ce facem sa fie consistent, dar nu in logica obisnuita, sa existe un contrast - pe de o parte sa nu poti sa urmaresti, apuci nimic, iar pe de alta parte o bogatie inexplicabila. Renuntam la modul “normal” de a prelua si prelucra informatia ca la o haina. Ce se intampla daca interactionam cu realitatea intr-un alt limbaj, oare e intr-adevar simplu – ca si cum ai schimba o haina sau e mai complicat – ca si cum ai schimba sistemul de operare la un calculator… sau poate e imposibil?

2008-01-31T01:49:00.002+02:00

Am infiintat un nou blog: misca!, primul text:

Sambata am avut programat examenul la arta coregrafica, prezentarea unei faze de lucru a licentei la care lucrez impreuna cu Iuliana Stoianescu si Maria Baroncea. Spre surpriza noastra, doamna Ianegic ne-a intampinat intrebandu-ne ce cautam acolo, spunand ca nu intru in examen. Ba mai mult le-a si interzis Mariei si lui Eduard Gabia sa asiste la cele doua lucrari prezentate, in virtutea unui regulament al scolii ce nu permite participarea persoanelor din afara la examene (domnul decan Mandea ne-a lamurit ulterior ca asa ceva nu exista). Mariei i s-a spus la un moment dat ca nu va mai calca in acea sala. Ce nu se intelege e ca spatiul de lucru si chiar profesorii sunt acolo pentru studenti, iar Maria fiind interpreta in piesa mea e cel putin nefiresc ca doamna Ianegic sa-i interzica accesul in sala de repetitii. Iar pe Eduard Gabia in loc sa-l dea afara ar fi fost mai normal sa-l invite pentru feedback-uri si discutiile de dupa examene. Poate in locul obisnuitei invitate in aceasta calitate, Adina Cezar, care la ultima prezenta, dupa examenul meu a reusit sa ridice doua intrebari relevante pentru propunerea mea: unde e dansul si ce zodie sunt.

In ce priveste discriminarea fata de cine intra in examen si cine nu, singura corelatie care am observat-o ar fi cu gradul de apropiere sau nu de reteta UNATC de dans - un fel de teatru baletat plin de simboluri, teme fundamentale si metafore. Ce iese din aceasta schema este descurajat din faza incipienta, existand o autoritate de la inaltimea careia se judeca aspru totul prin feedback-uri cu atat mai dure si mai descurajante cu cat esti mai indepartat de o anumita zona batatorita a cliseelor de miscare si creatie. Daca te detasezi putin e amuzanta lipsa de discernamant in notarea examenelor, nu se face diferenta intre lucrari in care se propune ceva, oamenii punandu-si niste probleme, si piese facute dupa reteta in care vezi aceleasi clepsidre, cuburi si aripi, alaturate unor “inserturi coregrafice” de dans modern sau neoclasic. Sau defapt diferenta se face dar bineinteles invers - primele fiind foarte slab notate daca sunt lasate sa “intre in examen”.

In loc sa se formeze un cadru suportiv si sa fie incurajate intentiile artistice cele mai variate, singurul demers coerent e acela de aplatizare a creativitatii. Ni se impune un mod de lucru in esenta teatral, de exprimare a unei teme sau a unui text, avand la baza caiet de regie si scenariu. Nu se admit alte moduri de a pune problema, alte moduri de a lucra decat cele ilustrative, bazate pe reprezentare, ca in balet. In dansul contemporan acest demers e doar unul din zecile posibile, se practica rar si atunci de obicei cu detasare, cu ironie. E cel mai grav lucru ca in arta sa impui un mod de a crea, sa impui retete, cand originalitatea se datoreaza probabil in cea mai mare parte modului in care concepi procesul de lucru.

Cea mai deranjanta e insa o anumita atitudine ce am inteles ca vine pe filiera liceului de colegrafie. O pedagogie fundamentata pe control si dresare comportamentala pe baza de violenta. Doar ca aici violenta e ceva mai rafinata - nu se mai apeleaza la lovirea elevilor cu scaune in cap ci la maltratarea psihica a studentilor de pe o pozitie de autoritate. Toate astea in contextul in care invatamantul in dansul contemporan este unul in care se tinde la eliminarea autoritatii, ierarhiilor, chiar a relatiei profesor - elev, ajungandu-se la formule in care modul de lucru si ceea ce se cerceteaza/invata se stabileste de comun acord intre profesor si studenti pe baza propunerilor si intereselor comune, “profesorul” participand activ apoi ca oricare dintre studenti la propriul atelier. In conditiile astea ce se intampla in UNATC parca e din alta lume sau alt secol.

2008-01-11T03:27:00.000+02:00

O cultura de fatada
Atitudinea ministrului spune foarte multe despre cum vede prioritatile in arta: investitii de fatada, estetizari formale, nimic de continut. Schimbarea fatadei e cea mai mica problema la teatrul national. Mai bine s-ar ocupa de un program de resuscitare a teatrului ca si demers artistic pentru ca pare a fi in coma prelungita – rupt de orice legatura cu arta contemporana. Daca e nevoie se poate consolida si cladirea, dar de aici pana la refacerea vechiului teatru ar trebui sa fie cale lunga.

Ce ma deranjeaza defapt e ca simt din nou discriminarea asta total prosteasca fata de dans in relatie cu teatrul. Din fraza aia cu baletul care se poate juca si la Odeon se simte clar ca avem un ministru care traieste pe alta lume sau cel putin cu cativa zeci de ani in urma, probabil in vremea comunismului. In dansul contemporan baletelele cumintele cu care sa ne delectam duminica seara si care se pot prezenta si la Odeon sunt tot mai rare, din fericire.

Am asistat in vara la Viena la o dezbatere intre teoreticieni si artisti din dans, arte vizuale si teatru despre ce se intampla in aceste arte iar unul din lucrurile cu care s-a cazut de acord e faptul ca dansul e in prezent arta cea mai dinamica, in care se experimenteaza cel mai mult. De asemenea e arta care tinde sa integreze si asimileze si celelalte limbaje artistice. In schimb teatrul se situeaza la polul opus, e aproape un mestesug, nu mai exploreaza mai nimic, fiind probabil arta cea mai inchisa. Asta ca sa prezint o ierarhie alternativa celei ministeriale pentru care institutia Teatrului National e incomparabil mai importanta decat cea a Centrului National al Dansului.

2008-01-08T00:47:00.000+02:00

Am inceput un nou blog despre piesa la care lucram ce vezi nu e ce crezi asta e textul cu care am inceput:

In ultimul proiect, Heaven, am ajuns sa identific si utilizez un limbaj bazat pe sensibilitatea fata de simtul kinestezic si proprioceptiv, limbaj pe care se constitue dansul, in mod similar cum artele vizuale se constitue pe sensibilitatea pentru un limbaj al imaginilor. In mod paradoxal exista in randul publicului, probabil vina e a teatrului, asteptarea si obisnuinta de a interpreta, de a cauta continutul intr-un alt limbaj decat in cel care se prezinta. Ceea ce e total ilogic - pentru transmiterea unor mesaje sau exprimarea unor idei sau teme limbajul corporal e destul de inadecvat, scrisul de exemplu ar fi un mediu mai potrivit.

Intentionez sa interactionez direct cu aceasta nevoie de interpretare. Ma intereseaza acea stare in care practic esti suspendat, pentru ca sensul e suspendat, interpretarea, evaluarea, scopul, totul e suspendat. Sa fi putin alaturi, contrariere, intrigare, ruperea logicii, mai multe logici, sa deturnezi, sa iesi din schema, sa destabilizezi. Vreau ca ce facem sa fie consistent, dar nu in logica obisnuita, sa existe un contrast - pe de o parte sa nu poti sa urmaresti, apuci nimic, iar pe de alta parte o bogatie inexplicabila.

Desi pare socant, e dovedit stiintific ca 95 % din comportamente sunt automatisme, scheme de comportament si de miscare cunoscute la care apelam. La fel si cu perceptiile, pentru majoritatea lucrurilor din jurul nostru avem deja o denumire putem categorisi tot ce vedem, si o si facem. Ma intereseaza acel efect de reimprospatare a perceptiei ce se obtine la contactul cu o noua experienta, acea “trezire” ce apare si la performer si la privitor, cand se iese din schemele de comportament si perceptie.

2008-01-04T00:31:00.000+02:00

un site interesant: http://radicalart.info/

Mi-a atras atentia la o privire rapida:

Francis Picabia - "L'Art est partout, excepté dans les temples d'Art, comme Dieu est partout, sauf dans les églises."
Osvaldo Romberg - Marcel Duchamp, who did to representation what Friedrich Nietzsche did to religion, used the ready-made to "present", not to "represent".
John Scottus Eriugena - In my judgment, there is nothing among visible and corporeal things which does not signify something incorporeal and intelligible.

2007-12-29T01:02:00.000+02:00

De ce esti vegetarian?, o intrebare frecventa in perioada sarbatorilor, cand focusul tuturor devine mancarea. Din mai multe motive cred: Ecologice - industriile bazate pe produse animaliere sunt cele mai poluante, contribuie cel mai mult la degajarea de CO2 in atmosfera, la efectul de sera (de altfel si agricultura e poluanta, e la baza majoritatii defrisarilor, de aceea doar fruitarienii sunt ecologici pana la capat); Etice - nu vreau sa contribui la exploatarea, maltratarea si uciderea animalelor; Politice - sa ies dintr-un intreg mecanism al pietei de consum cu comportamente alimentare insuflate de o educatie bazata pe inertie si prejudecati ce produce obiceiuri urmate din stereotipie si lipsa de constienta (totul intarit si amplificat de publicitate); Practice - nu pierd timpul cu gatitul, fara murdarit de vase si preparare termica. De sanatate - in mod clar mai sanatos, eram incredibil de bolnavicios si slabit inainte. Experienta subiectiva - ma simt mai usor, mai disponibil spre experienta, mai sensibil.

2007-08-06T04:06:00.000+03:00

La fel cum pe baza simtului vizual functioneaza artele plastice, comunicand intr-un limbaj vizual, pe baza simtului kinestezic functioneaza o arta corporala ce comunica intr-un limbaj corporal. Simtul kinestezic e de fapt simtul fundamental din care apoi s-au specializat celelalte, e simtul care le unifica pe celelalte, la fel cum dansul e arta de baza care le unifica pe celelalte. Cele mai multe celule nervoase sunt folosite de acest simt, dar contrar acestui lucru, noi suntem obisnuiti sa nu dam atentie acestui simt. Intuiesc ca exista o legatura intre acest lucru si faptul ca folosim 20% din creier. Antrenamentele dansatorilor insista de obicei pe aceasta disciplinare a corpului, pe controlul asupra corpului, pe relatia dinspre minte pe corp, se neglijeaza traseul invers. Sa nu gandim in actiuni, pentru ca actiunile sunt formatate deja mental, au o utilitate, sunt functionale, au asignata automat si o interpretare. Sunt calupuri de miscari pe care le facem una dupa alta din inertie, in mod automat. In momentul in care devi sensibil la ce comunica propriul corp in raport cu contextul in care se afla orice faci devine dans, si daca stergi cu mopul pe jos de exemplu.

2007-07-26T16:05:00.000+03:00

Mi-am dat seama ca nu am si nici nu-mi doresc un corp disciplinat, corpul nu ma asculta, oricum ce mi se pare mult mai interesant si chiar mai sanatos e sa-l ascult eu pe el.

Vis in care la un moment dat spuneam ca atunci cand dormim ne lasam corpul in pace, cand suntem treji simtim nevoia sa-l ajustam tot timpul. Importanta mutarea focusului de pe "ce sa-i fac corpului" sau "ce se-ntampla in corpul meu" pe "ce comunica ceea ce face corpul" - astfel are loc o mutatie din planul corporal intr-unul artistic.

2007-02-20T04:15:00.001+02:00

Revelatie - in seara asta dupa mult timp m-am simtit din nou foarte bine in timp ce lucram, am inteles de unde venea oboseala si neputinta mea de a lucra din ultima vreme, am inteles, cred, si care e problema in heaven. De obicei exista o schizofrenie in noi in timp ce ne miscam - mintea si corpul nu sunt una, mintea e in alta parte, nu suntem cu adevarat prezenti in ce face corpul, ne gandim la altceva, traim in propria minte (trecut), in loc sa traim experienta corporala directa, s-o simtim - sa fim prezenti. Pana la urma, asa cum spune Castaneda, in toate astea e vorba de o oprire a dialogului interior, pentru a putea fi cu adevarati prezenti in ceea ce ni se intampla. In loc sa analizam si interpretam ceea ce ni se intampla, sa potentam, sa fim deplini in ceea ce experimentam, si din asta va aparea firesc si o intelegere, o anume constienta. Traim impotriva noastra, aranjandu-ne mintea actiunile, neasteptand ca deciziile sa se ia in noi ca intreg, sa vina la noi. Prezenta nu inseamna a gandi ceea ce ni se intampla ci in primul rand a simti, a percepe. Noi nu suntem pentru noi insine o problema intelectuala ci una vitala. Totul de la un moment dat se unifica si devine o experienta corporala (o experienta de cunoastere directa, nemediata, perceptie, sensibilitate corporala), apare un altfel de perceptie, nu mai percepi lucrurile prin intermediul denumirii sau al utilitatii lor, totul devine dans. E cea mai veche forma de cunoastere atat ontogenetic cat si filogenetic si e sursa tuturor celorlalte modalitati de perceptie si cunoastere, inclusiv a mintii. E un alt fel de cunoastere in care realitatea, experienta devin semnificative in mod direct, ocolind intelectualizarea.

2006-09-12T02:39:00.000+03:00

Scrisul e o forma de constientizare. Si in viata, si in proiectele mele alternez intre existenta (experienta) si recuperare, integrare, asimilare (scris). Si cei doi poli se potenteaza reciproc.

Corespondenţe psiho – somatice

2006-08-20T17:49:00.001+03:00

Oamenii au observat şi folosit corespondenţele dintre fizic şi psihic din cele mai vechi timpuri. În special în culturile orientale s-au dezvoltat o serie de metode, tehnici şi teorii aferente de descoperire şi dezvoltare a laturii spirituale prin intermediul somaticului. Hatha-Yoga, Tai Chi, Sufi, Aikido Zen sunt numai câteva dintre ele. Hatha-Yoga e o metodă foarte riguroasă ce se foloseşte de diferite posturi corporale şi tehnici de respiraţie pentru a ajunge la desăvârşirea spirituală, la Nirvana (eliberarea totală). Tai Chi provine din religia taoistă şi are la bază circulaţia energiei vitale wu-wei. Prin practicarea acestei tehnici la un moment dat se creează impresia transcederii corpului, a faptului că nu mai eşti responsabil de propriile mişcări. Principiul fundamental al Tai Chi-ului e acţiunea prin non-acţiune, de a te lăsa purtat de cursul natural al lumii, de a nu opune rezistenţă, de a te acorda cu o energie şi o inteligenţă din spatele lucrurilor. Sufi e o practică religioasă prin care, prin intermediul dansului, se poate obţine comunicarea cu divinitatea. Prin intermediul dansului se anulează eul şi atunci poate apărea comunicarea cu altceva. Repetând continuu mai multe persoane aceleaşi mişcări se conectează într-un fel pe aceeaşi lungime de undă. Fuzionează timpul şi astfel fuzionează şi spaţiul şi astfel se transmite energia în dansurile sufite (Burns, 1998).

Toate aceste practici pornesc de la premiza că omul e un întreg şi că orice schimbare corporală are corespondent spiritual şi invers. În schimb în civilizaţia occidentală actuală tendinţa e de a privi omul pe compartimente nu ca un întreg. Medicina tinde să ţină cont doar de partea organică, psihologia doar de conţinuturile mintale. Această scindare continuă să existe în ciuda numeroaselor argumente în favoarea unei reconsiderări radicale a interacţiunii psihologic – biologic. Unele dintre aceste argumente sunt foarte spectaculoarse. Astfel sunt de exemplu vindecările obţinute prin intermediul efectului „placebo”. Alte acţiuni misterioase ale psihicului asupra fizicului ce sunt amintite sdesea sunt stigmatele cutanate ce apar în unele stări extatice, sau modificări fiziologice spectaculoase obţinute prin hipnoză. De asemenea s-a observat că numeroase boli organice au bază psihologică. Şi mai interesante sunt unele pendulări misterioase de la boală psihică la boală fizică şi invers în tratamentele orientate pe simptom. În urma a numeroase astfel de exemple Jacques Cain (1998) conchide în lucrarea sa Psihanaliză şi psihosomatică că „opoziţia radicală dintre psihologic şi somatic nu este decât rezultatul unei elaborări doctrinare ce păcătuieşte prin exces de raţionalism şi nu emană nicidecum din faptele însele”.

În psihologie unii tipologi au reuşit să creeze punţi între psihic şi somatic pornind de la observaţile valabile şi la nivelul simţului comun cum că există legături între caracterul sau personalitatea cuiva şi prezenţa sa corporală, expresia feţei, ţinută, etc. Astfel psihiatrul Kretschmer (2005) confirmă această corelaţie dintre înfăţişarea fizică şi trăsăturile de personalitate. În urma studiilor sale a împărţit subiecţii în trei tipuri de constituţie cărora le corespunde trei temperamente diferite: 1. Leptosom sau Astenic: constituţie înaltă slabă cu oase subţiri şi lungi, le corespunde temperamentul schizoid. Sunt nesociabili, uneori timizi, rezervaţi, cu sentimente fine. Au predispoziţie spre schizofrenie. 2. Atletic: musculatură puternică, umeri laţi, bine proporţionaţi. Sunt predispuşi la epilepsie; 3. Picnic: mici de înălţime, constituţie compactă, gât scurt. Sunt prietenoşi, plini de umor, sociabili, predispuşi la sindromul maniaco-depresiv. Un alt psihiatru Sheldon a pornit de la cele trei straturi de dezvoltare ale embrionului, endoderm, mesoderm şi ectomorf şi a constatat că acestea tind să aibă pregnanţă diferită de la un individ la altul ajungând să creeze constituţii corporale diferite. Astfel în mare indivizii pot fi grupaţi în trei categorii: 1. Endomorfi (centraţi pe abdomen, pe sistemul digestiv), având tendinţa spre endotonie (caută relaxarea, confortul, mâncarea, sunt sociabili); 2. Mesomorfii (predomină sistemele muscular şi circulator), având tendinţa spre mesotonie (asertivitate, dragoste de acţiune); 3. Ectomorfii (predomină creierul şi sistemul nervos), având tendinţa spre ectotonie (viaţă privată, autoanaliză). Arraj (2002) a găsit corelaţii foarte interesante între tipologiile constituţionale ale lui Sheldon şi cele opt tipuri psihologice ale lui Jung.

În ultima jumătate de secol au început să apară şi psihoterapii care au la bază această coprespondenţă misterioasă psiho-somatică, făcându-se astfel conexiuni cu vechile civilizaţii orientale. Primul care a intrat în domeniul terapiilor centrate pe corp a fost psihanalistul Wilhelm Reich. Discipol de-al lui Freud spre deosebire de maestrul său a acordat atenţie şi discursului corporal al pacienţilor săi nu doar celui verbal. Astfel a constatat că atitudinile se manifestă în corp prin expresia ochilor, a feţei, postură, mişcări subtile, tonus muscular, patterni respiratori. A constatat cum conflictele trecute şi prezente devin encodate în structura corpului sub forma tensiunilor musculare, patterni restrictivi de respiraţie. De asemenea el a fost cel care a constatat că simpla discuţie şi analiză a problemelor nu e suficientă. I-a fost foarte clară unitatea dintre minte şi corp în momentul în care acţionînd direct asupra corpului, relaxând tensiuni musculare cronicizate se activau vechi amintiri dureroase uitate sau se experimentau emoţii puternice, (Rablen, 2000).

Cel care a mers mai departe a fost studentul său Lowen, acesta a dezvoltat o concepţie nouă asupra tipologiilor, diagnosticului şi terapiei. Metodele lui poartă denumirea de Bioenergetică. Aceasta studiază personalitatea umană înţeleasă în termenii proceselor energetice ale corpului. Teza fundamentală a bioenergeticii este că mintea şi corpul sunt funcţional identice, ceea ce se întâmplă în minte se reflectă în corp şi invers. Acesta pune la îndoială intervenţia terapeutică ce are loc la nivel verbal, constatând că aceasta nu duce decât la raţionalizări mai fine. “După ani de analiză persoana se află în posesia a multe informaţii despre situaţia sa, dar patternurile structurate de comportament rămân neatinse. Doar prin mijlocirea experienţei, informaţiile devin cunoştinţe, iar experienţa e un fenomen corporal” (Mitrofan, 1999). Corpul e cel care păstrează intactă istoria persoanei: “corpul tău exprimă cine eşti şi modul tău de a exista în lume” (Lowen, 1975). În momentul în care în corp apar unele blocaje, curgerile energetice sunt întrerupte şi persoana pierde o parte din vitalitate, şi chiar din personalitate. Energia nu mai ajunge la periferie, în zonele în care se face contactul cu lumea (mâini, cap, organe genitale). E necesară atunci o deblocare, a părţilor rigidizate, ceea ce are ca urmare o creştere energetică însoţită de o stare de bine şi de restructurări în personalitate.

O altă direcţie în care s-au dezvoltat experienţele lui wilhelm Reich e psihoterpia Radix. Aceasta porneşte de la premiza că mintea şi corpul sunt un întreg şi că se oglindesc reciproc. Astfel inconştientul e oglindit în paternii corporali de tensiune musculară cronică. Emoţiile le experimentăm în momentul în care energiile subtile ale corpului (orgone. qi, prana) curg prin corp. Emoţii blocate de frică, durere, furie, complexe, reprimări, sunt oprite în tensiunile cronice ale corpului. Astfel se deranjează curgerea forţelor vitale şi aceste distorsionări se experimentează ca disconfort psihic. Eliberarea tensiunilor musculare cronicizate va duce la schimbări psihice echivalente. Hakomi e tot o ramură a orgonomiei lui Reich. Această abordare e asemănătoare cu cele precedente şi consideră că unitatea dintre psihic şi corp se reflectă în “somaticizarea” experienţelor noastre dureroase. această somaticizare înseamnă tensiuni musculare obişnuite, mişcări restrictive, şi blocaje energetice. Această armură fiziologică serveşte drept ancoră pentru credinţele inconştiente care guvernează şi limitează gândurile noastre, sentimentele şi comportamentele. Metoda Feldenkrais e o altă terapie de facură psiho-somatică. E un amestec neobişnuit de dezvoltare motorie, bio-mecanică, psihologie şi arte marţiale. E recunoscută pentru eficienţa demonstrată în îmbunătăţirea posturii, flexibilităţii, coordonării, imaginii de sine, relaxarea tensiunilor musculare. Se axează pe lucrul asupra patternilor comportamentali psihologici şi fizici pe care îi adoptăm în experienţa noastră personală pentru a ne asigura supravieţuirea biologică şi socială. Aceşti patteerni sunt adânc implantaţi în sistemul nostru nervos şi adesea devin inadecvaţi sau disfuncţionali.

Metoda Feldenkrais utilizează variaţii funcţionale bazate pe inoiri şi diferenţieri în activitatea motorie senzorială care permit eliberarea de patternii înrădăcinaţi şi permit creerea unor noi patterni de gândire mişcare şi simţire ce aduc o evoluţie. Mişcarea e folosită pentru a explora aspectele biologice şi culturale ale atenţiei, intenţiei şi cogniţiei şi pentru a pătrunde mai adânc în modul în care interrelaţionează dezvoltarea umană, învăţarea şi mişcarea.

O altă abordare de acest gen o are terapia somatico-emoţională a lui Keleman (1985). Acesta spune că atitudinile nu sunt doar mentale cum se crede în general ci şi corporale. Atitudinile mintale şi cele corporale sunt identice. Forma corpului şi modul în care îl resimţim sunt o mărturie a caracterului nostru, a modului nostru personal de existenţă psihologică. Procesele anatomice reflectă îndeaproape trăirile interioare. În procesul dezvoltării o persoană întâlneşte diferite încercări. Când încercarea depăşeşte capacitatea persoanei de a o depăşi, o distorsionare a formei apare drept răspuns. Prin repetiţie acest pattern distorsionant se solidifică şi poate deforma persoana. Prin prisma acestei modificări persoana tinde să răspundă lumii într-un mod stereotip şi previzibil. Această formă personală (interioară şi exterioară), pe care o avem fiecare, e rezultatul confruntărilor cu diferitele încercări pe care le-am avut. Primul pas e identificarea atitudinii noastre somatice. Al doilea pas e intensificarea paternului. Apoi apar conştientizarea şi asociaţiile emoţionale.

O tehnică mai recentă ce vine din zona psihologiei cognitive şi a neuroştiinţelor e programarea neurolingvistică (NLP). NLP consideră mintea şi corpul drept un sistem în care acestea se influenţează reciproc. Felul în care corpul se mişcă poate declanşa emoţii şi stări. O altă consecinţă e că unele amintiri sunt stocate în zona fiziologică. De aceea unele schimbări pot fi mai uşor obţinute lucrând la nivelul corpului. După modul de stocare a informaţiilor NLP împarte oamenii în trei categorii, vizuali, auditivi şi senzitivi. Iar fiecare din aceste tipuri e uşor de depistat în funcţie de unele acţiuni ale corpului (moduri de a privi, de a respira, etc.). De asemenea tot din comportamentul persoanei se poate deduce ce fel de amintiri accesează. În funcţie de aceste tipologii NLP a dezvoltat şi moduri diferite de intervenţie. La fel ca şi celelalte terapii se bazează foarte mult pe ceea ce se cheamă limbajul corpului. S-e consideră că cea mai mare parte a comunicării este implicită (la nivel inconştient), şi se face prin atitudinile corporale (80%).

O psihoterapie ce nu vine din zona psihologiei ci din zona artei este dans-terapia. Teoria pe care se bazează dans-terapia e că mişcările corpului reflectă stările interioare, şi că mişcându-se corpul ghidat de unele considerente terapeutice, apare un proces de vindecare. Dans-terapia caută să scoată la iveală conflictele interioare şi să le evidenţieze la toate nivelurile – fizic, emoţional, mental şi spiritual. Scopul fiind deplina integrare a minţii şi corpului, şi armonizarea omului ca întreg. Metakinesis e un termen apărut în scrierile Greciei Antice şi desemnează un loc de întâlnire a fizicului şi psihicului, se referă la faptul că organicul şi psihologicul sunt două calităţi ale unei aceleaşi realităţi. Acest termen uitat timp de secole a fost redescoperit odată cu apariţia dansului modern. Este folosit în special pentru a explica puterea dansului de a emoţiona, pentru a explica legătura între mişcările fizice şi declanşarea conţinuturilor psihice. Mişcarea e cea mai elementară experienţă umană şi e prezentă în exprimarea tuturor experienţelor emoţionale. Omul primitiv dansează când e emoţionat. Dansul însoţea toate evenimentele importante ale vieţii: naşterea, iniţierea, căsătoria şi fertilitatea, războiul, ciuma, exorcismul, moatea, etc. Mişcarea e primul mijloc de transmitere a informaţiilor între indivizi, filogenetic şi ontogenetic precede cu mult vorbirea. De asemenea spre deosebire de limbaj e universală. La origine toate dansurile au fost religioase (Ellis, 2003), dansul era şi este folosit peste tot acolo unde apare misterul, unde cuvintele şi raţiunea nu fac faţă. Era folosit pentru obţinerea experienţelor psihice ieşite din comun sau pentru comunicarea unor emoţii deosebite. Rolul dansului a rămas aproape neschimbat de-a lungul secolelor, şi astăzi unul din rolurile dansului e de a transmite sentimentele dansatorului sau diferite alte conţinuturi emoţionale şi estetice. Modul în care dansul reuşeşte să emoţioneze a rămas în mare parte un mister. John Martin (1989) susţine că explicaţia ar fi acest misterios metakinesis. Pentru el mişcarea e legătura dintre intenţia dansatorului şi percepţia noastră, e un vehicul ce permite unui concept estetic să treacă de la un individ la altul. Are loc o transmitere specifică ce ocoleşte raţiunea, nu trebuie să stăm să analizăm ce reprezintă o anumită poziţionare a braţelor. Instantaneu se produce o asociere prin intermediul simpatiei musculare, prin rezonanţă kinestezică. Toţi suntem în posesia unei memorii musculare mimetice şi prin simpatie musculară muşchii noştri refac într-un fel ceea ce se întâmplă cu dansatorul şi declanşează conţinuturi psihologice corespunzătoare.

Cum stăm, cum privim, cum ne mişcăm, mimica, gestica sunt cele mai clare şi mai adânci expresii a ceea ce e în noi. Există o corespondenţă directă, bilaterală între corp şi psihic, o schimbare de natură psihică se reflectă în corp şi invers, acţionând asupra corpului modificăm psihologicul. Toţi oamenii exprimă tot timpul ceva prin intermediul corpului. Corpul e intermediarul dintre noi înşine şi lume, prin el putem acţiona şi asupra lumii şi asupra vieţii interioare; dar şi invers, lumea interioară şi exterioară se exprimă sau acţionează prin corp.

Bibliografie:

Arraj, J. (2002), Tracking the Elusive Human, preluat de pe web: http://www.innerexplorations.com;

Burns, S. (1998), Tepsichore in Sneakers, N.Y, New York Press;

Cain, J. (1998), Psihanaliză şi psihosomatică, Bucureşti, Editura Trei;

Clinebell, H. (2005), Contemporary Growth Therapies Jr. preluat de pe web: http://www.religion-online.org/

Ellis, H. (2003), The Dance of Life, preluat de pe web: www.australiaebook.com.

Kelemen (1985), Somato-Emotional Therapy , preluat de pe web: www.somatoemotional.org

Kretchmer, (2005), Physique and Character, preluat de pe web: www.somaorg.edu;

Lowen, A. (1975), A Bioenergetics, New York, Coward Mc.;

Martin, J. (1989), La danse Moderne, Paris, Actes Sud;

Mitrofan, I. (1999), Psihoterapie experienţială, Bucureşti, Infomedica;

Rablen, E. (2000), Introduction to Bioenergetics, preluat de pe web: http://www.bioenergeticanalysisct.org/introrablen.htm

*** (2005) Neuro-linguistic_programming, preluat de pe web: http://www.en.wikipedia.org/wiki/;

*** (2004), Cambridge Body Psychoteherapy, preluat de pe web: http://www.cbpc.org.uk/bodytrain.htm;

2006-05-30T13:51:00.001+03:00

Are loc o schimbare de paradigmă în ce priveşte dansul şi atitudinea faţă de corp. Dansul clasic şi modern au într-un fel tendinţa de a subjuga corpul, obligându-l să exprime creierul (forme, idei, teme). Corpul poate avea însă un rol mult mai important decât de a ne exprima ideile, el le-ar putea naşte, provoca, e mult mai valoros în calitate de instrument de cunoaştere. Raporturile sunt inversate, nu corpul trebuie învăţat să exprime lucruri pe care le ştim, ci noi trebuie să învăţăm să înţelegem lucrurile pe care el le ştie şi le exprimă dacă i se permite. Nu obligăm dansul, viaţa să ne exprime ideile, să ia forma a ceea ce ştim noi, ci mai degrabă invers ideile şi tot ceea ce ştim trebuie să urmeze experienţei, dansului, existenţei.

2006-05-28T13:46:00.002+03:00

Dansul e o artă a cărui mediu de exprimare şi instrument de lucru e acelaşi cu al vieţii în general: corpul. Din această cauză această artă influenţează foarte mult viaţa celui care o practică şi invers experienţa vieţii influenţează hotărâtor această artă. Deşi se materializează în corp dansul solicită omul ca întreg, solicită în egală măsură triada: corp–minte–suflet. Din această asemănare cu viaţa poate funcţiona o dialectica dintre dans şi viaţă. Dansul fiind o artă ce solicită omul ca întreg, lucrurile conştientizate din experienţa de viaţă se pot transfera, testa, explora şi aprofunda în dans. Iar dansul la rândul lui pe această cale iluminează anumite problematici ale vieţii. Corpul e tot timpul conectat cu inconştientul, în sensul că el exprimă tot timpul ceva chiar dacă nu suntem conştienţi de asta. Limbajul corporal e un limbaj paralel, alimentat din inconştient, asemenea viselor. Dansul poate spori foarte mult conştiinţa asupra acestui limbaj. Treptat se poate obţine o conştiinţă a mişcărilor şi acţiunilor, se poate extrage sens din ele. Astfel dansul poate deveni sursă de cunoaştere şi de autocunoaştere, corpul fiind conectat la ceva mult mai vast şi mai complex decât conştientul nostru. De îndată ce devenim puţin sensibili la modul în care comunică corpul prin mişcările, acţiunile şi expresivitatea acestuia, intrăm în posesia unui important instrument de cunoaştere.

Convenţia de scenă poate fi folosită drept laborator de cercetare. Scena e o microlume în care timpul şi spaţiul sunt comprimate iar acţiunile sunt semnificative. Situaţia performativă e puternic transformativă în calitate de performer. În dansul contemporan neexistând roluri şi personaje tot ce faci într-un fel sau altul te reprezintă şi te prezintă. De obicei spectacolele se bazează pe explorarea şi cercetarea unei zone mai mult sau mai puţin personale a fiecărui interpret sau prin creearea anumitor contexte sau situaţii reprezentative pentru viaţă în general. În aceste situaţii până la ajungerea în forma finală, de prezentare a spectacolului, se trece printr-o serie de etape şi experienţe ce de obicei deschid calea spre diferite conştientizări.

O funcţionare bună în situaţia de compoziţie în timp real presupune capacitatea de a fi cu adevărat prezent în locul, timpul şi situaţiile respective, capacitatea de a înţelege ceea ce ţi se întâmplă, şi de a fi disponibil spre nou. De asemenea e necesară capacitatea de a rezista tentaţiei de a determina lucrurile şi dezvoltarea capacităţii de a aştepta şi a vedea spre ce se îndreaptă acestea. Renunţarea la control e esenţială, acceptarea faptului că lucrurile au propria lor logică, nu o urmează pe a noastră, nu trebuie să forţăm realitatea să intre în sistemele noastre, ci trebuie să avem încredere în logica vieţii. Pentru a putea funcţiona astfel e necesară o anumită înţelepciune, o capacitate de a renunţa într-un fel la ego, la nevoia de control. Graniţa între ceva viu şi ceva mort e una foarte fină. Când laşi lucrurile să respire, să se întâmple conform logicii lor apar lucruri interesante, altfel totul e deja formalizat şi schematizat, conform minţii tale. Ce te învaţă improvizaţia e să laşi să apară o inteligenţă şi o sensibilitate mai profundă şi mai bogată, cea din spatele minţii, cea intuitivă, imaginativă. Aceasta apare doar în momentul în care conştientul îşi face bine treaba, când conştientizează prezentul.

Există două lumi: una reală obiectivă şi lumea cum o înţelegem noi, cea obiectivă funcţionează oricum legat de cea subiectivă implicit într-un mod misterios, cumva atragem evenimentele care ne sunt necesare. E important să nu determinăm acţiunile direct prin prisma modului în care înţelegem noi lumea. Un proiect e un prilej de explorare, se definitivează pe parcurs, lucrul modifică însăşi concepţia.

2005-03-06T01:03:00.000+02:00

Drogurile te duc undeva unde nu meriti sa fi. Si cu cât fortezi mai tare pe cale artificiala îti va fi mai greu sa ajungi pe cale naturala în acea zona. Starile care se obtin prin intermediul drogurilor ar trebui sa fie „recompensa” unor actiuni sau a unui mod de a fi. Daca sunt fortate omoara din energia si motivatia naturala.

2004-05-14T23:47:00.000+03:00

Am mers din centru la bunicu la spital prin ploaie. Mergeam pe aleea dintre salcami prin parcul de langa cetate si am simtit o armonie, o stransa corespondenta intre starea mea interioara si ceea ce se intampla in jurul meu, intre cum ma simteam eu si ploaia care ma uda pana la piele. Ma gandeam ca ar fi fost total nepotrivita o zi insorita, "frumoasa". Cand sunt deprimat zilele frumoase imi amplifica tristetea pentru ca stiu ca o astfel de zi e potrivita pentru cu totul altceva decat sa stau in casa si sa-mi rumeg gandurile mele deprimante. Intotdeauna cand e timp frumos si eu nu fac nimic deosebit am senzatia ca trece viata pe langa mine.

2004-01-04T13:40:00.000+02:00

Se pare ca bunicul are cancer la plamani. Azi am aflat, maine voi sti sigur. Nu pot sa adorm. In minte imi staruie o imagine care la vremea ei mi se parea ca are ceva foarte trist. Ma intorceam cu trenul de la Hodosa, undeva intre Deda si Tg. Mures unde trenul merge incet si peisajul e alcatuit din dealuri domoale. Soarele apunea undeva in departare, peste dealuri si ne insotea, avea si el un drum paralel cu al nostru, mai disparea din cand in cand dupa un deal, reaparea. Pe langa calea ferata erau niste stalpi negri de lemn ce sus se terminau cu o cruce dubla. Era halucinant sa urmaresti firele dintre stalpi cum urca si coboara pe fundalul soarelui ce apune.

2003-12-18T13:43:00.000+02:00

La sfarsitul saptamanii trecute am fost la Hodosa si la bunicu la spital. Intr-o noapte mi s-a intamplat ceva destul de interesant. Dormeam ca de obicei singur in camera mare. Inainte sa adorm am infundat soba cu lemne. La un moment dat, dupa ce am adormit m-a trezit pentru cateva secunde o bufnitura puternica, dar am adormit repede. Atunci am visat ca bunicul ma trimite dupa niste frunze de menta care sunt atarnate intr-o punga chiar langa soba. M-am trezit in timp ce spuneam cu voce tare „acuma”. In primul moment am fost mirat pentru ca nu am mai avut de mult un vis in care sa vorbesc cu voce tare. Apoi am simtit ca e foarte mult fum in camera, am aprins lumina si am vazut ca partea de la horn care iese din soba era cazuta.

2003-06-30T04:12:00.000+03:00

Mi-am amintit o întâmplare ce s-a petrecut pe când aveam vreo cinci ani. Era noapte şi eram cu mama în clădire la poli 2. îmi era groaznic de frică de stomatologie. Mergeam prin clădire şi la un moment dat de la un geam am văzut un şir de blocuri cu 10 etaje care aveau o grămadă de lumini aprinse. Mi s-a părut foarte ciudat faptul că există atâţia oameni. aveam o senzaţie negativă, era înfricoşător. Mi se părea că eu puteam la fel de bine să fiu oricare din acei oameni.

2003-06-01T12:46:00.000+03:00

Am venit de la Bucuresti din nou la Craiova. Iar la Bucuresti am venit direct de la Cluj, unde am fost la festivalul de film. Toata luna mai am fost pe drumuri (Craiova, Tg. Mures, Hodosa, Fagaras, Bucuresti, Cluj). Cam neglijez pregatirea pentru examen.

Zborul e ca un drog foarte puternic. In seara asta am constientizat in ce hal m-a acaparat. Am devenit un cu totul alt om decat cel care eram saptamana trecuta la Cluj. Si visele imi sunt cu zbor si planoare. O implicare mai mare nu am vazut in nici un alt domeniu. Pentru oamenii de aici zborul este viata lor. Zborul e pe primul loc. Si sunt oameni de toate varstele, de meserii diferite. Daca ma gandesc bine mai exista alpinistii, motociclistii, scufundatorii ... dar parca totusi cu pilotii lucrurile ajung la alt nivel. Ei formeaza o lume proprie, cu regulile lor, cu valorile lor, diferite de ale restului lumii. De aceea cand ies din lumea lor sunt, majoritatea, putin inadecvati, neadaptati.

Acu vreo doua zile veneam de la o depanare, eram sase intr-un Aro, nu vorbeam nici unul nimic. Apunea Soarele, era un mare glob rosu. Un mecanic era vizibil marcat de eveniment si se mira: „Ma ce ciudat e Soarele asta”. A reusit sa ma faca pentru cateva secunde sa percep altfel evenimentul.

Se pare ca voi merge in Germania. In noaptea in care am aflat eram atat de emotionat incat ore in sir nu am reusit sa adorm. Cu toate astea cand am aflat nu m-am bucurat extraordinar de tare. Mi-a cam dat peste cap planurile. Vroiam dupa cantonament sa ma apuc serios de pregatirea pentru admitere. Voi incerca sa fac un tur de forta. Sa merg si in Germania, sa ma pregatesc si pentru admitere. Va fi o vara intensa oricum...

2002-09-16T02:51:00.000+03:00

Ieri m-am intors de la cabana lui Soloviov. Am mancat (din nou) carne, slanina, mancaruri grele. Am observat ca mancarurile grele te tin cu picioarele pe pamant, cu tot corpul chiar. Se pierde o dimensiune a vietii, cea subtila, sensibila, miraculoasa, spirituala. Totul devine mai domestic, mai molcom, in limitele obisnuitului. Nu te poti inalta. Dar nici nu cazi. Eviti caderea psihica dar si extazul. Se poate face paralela cu sexualitatea.

2002-06-12T02:11:00.002+03:00

Vis – Era Dan la mine în hol, cred că vroia să plece. Eu răsfoiam un album cu reproduceri de picturi. Am observat una foarte interesantă. Un fel de ironie la „Impresie răsărit de Soare”. Mi se părea foarte interesantă, i-am arătat-o lui Dan, nu prea îi plăcea, până când s-a uitat mai bine şi a observat că tabloul e de Braque. Eu am intrat în cameră la mine şi l-am lăsat pe Dan singur la uşă. Când m-am întors nu mai era, mă gândeam că s-ar putea să fie în baie, era aprinsă lumina. În secvenţa următoare îl căutam pe-afară, la nişte magazine, în staţie. Mi-am dat seama că e acasă aşa că m-am întors. În timp ce-l căutam m-am întâlnit cu E şi M. Erau cu maşina pe strada cu Perla. Atmosfera dintre ei era urâtă, Emil spunea ceva despre „calea cunoaşterii”. În timp ce m-am îndepărtat de ei mi-am dat seama ca de fapt „cunoaşterea” e faptul de a şti cum să reactionezi într-un anumit moment, ce să faci, atitudinea ta, e ceva practic – să răspunzi adecvat situaţiei. Mi-am dat seama că cea mai bună atitudine e cea a artistului. Mă şi simţeam artist. Eram bucuros, am descoperit calea – arta. În timp ce-l cautam pe Dan pe afară întrun fel ştiam tot timpul ca e acasă la mine. M-am trezit bucuros, mă simţeam artist.

2002-05-09T02:04:00.000+03:00

De Paşti am fost câteva zile la Hodoşa şi pe Teasc. De acolo am coborât singur. La un moment dat în partea dreaptă s-a întunecat foarte urât şi se vedea cum se apropie perdeaua de ploaie. Am devenit foarte îngrijorat, chiar speriat. În schimb în stânga priveliştea era minunată, Soarele încă lumina lanţurile de munţi ce se succedau până în zare. Brusc mi-am dat seama că e foarte semnificativ faptul că mă uit doar în dreapta. Nu mai eram în stare să apreciez peisajul din cauza furtunii care mă ameninţa. Am inteles că atitudinea mea în general e una greşită, că sunt mult prea atent doar la latura negativă a lucrurilor. Oricum furtuna dacă era sa vină venea, nu o puteam opri. Tot ce puteam face era să merg cât mai repede. Şi între timp să fiu atent şi în partea stângă, să trăiesc aspectul pozitiv al lucrurilor.

2002-02-24T01:40:00.000+02:00

Ieri a fost parastasul de doi ani de la moartea lui tata. Cu o noapte inainte „vis” in care am auzit foarte clar pasi prin camera. Eram intr-o stare ciudata de constiinta. Am simtit din nou la trezire acei curenti de energie prin tot corpul. La fel ca acu un an, ieri spre seara, mi s-a facut foarte rau si nu mi-am mai revenit decat dupa un descantec (anul trecut buni). Nu-mi dau seama pentru ce am fost pedepsit, poate pentru ignorarea semnificatiei si importantei evenimentului.

2002-01-19T02:00:00.000+02:00

De vreo doua zile ma uit prin fisele de lectura, pentru a vedea daca mai am vreo chemare pentru stiinta Am gasit ceva ioteresant la Castaneda despre moarte ca singur sfetnic inteligent pe`care-l avem. Intotdeauna trebuie sa tinem cont in ceea ce facem de moarte care e tot timpul la un brat distanta`de noi. Ea va da gandurilor si actiunilor noastre valoarea reala. Privind prin aceasta prisma realizez ca sunt intr-o continua stare de asteptare, ca ma comport ca si cum as fi nemuritor, ca si cum as avea timp nelimitat. Actiunile mele nu au amploare si forta din cauza ca nu le vad decisive. Se schimba totul imediat ce devii constient de propria-ti moarte. Dispare timiditatea si acea amanare a fericirii, totul se dinamizeaza, amplifica.

Am deschis Biblia pentru dilema mea arta – psihoterapie. spunea ca e timpul sa ne trezim, noaptea e foarte inaintata, se apropie ziua, mantuirea e aproape.

2001-12-30T02:07:00.000+02:00

Am fost la Hodosa. Bunicul plangea la un moment dat ca intra in ultimul lui an.

D acu cateva zile mi-a spus ca toti trei suntem morti: eu, E si el (in ordinea asta).

2001-12-23T01:29:00.000+02:00

Acu trei zile mi-am luat, dupa multe ezitari telefon mobil. chiar dupa ce mi l-am luat m-am intalnit in centru cu M careia tocmai i se furase. In baruri seara de seara poti auzi, fie de la masa ta, fie de la cea alaturata, vorbindu-se minute in`sir despre celulare. Puterea lor e mult mai mare decat utilitatea lor. Sunt un fel de carte de vizita, eticheta, fetis.

2001-11-17T01:17:00.000+02:00

Unul dintre cele mai importante lucruri pe care le-am învăţat prin studierea viselor a fost să fiu mai atent la realitate. Trăim într-o lume de imagini atât noaptea cât şi ziua. La fel cum visele ne vorbesc prin intermediul unui limbaj bazat pe imagine şi simbol, se întâmplă şi cu lumea din jurul nostru. Adică la fel cum visul poate fi înţeles prin accederea la un alt nivel de semnificaţie se poate sesiza şi sensul realităţii cu care ne confruntăm. Probabil de aceea sunt visele premonitorii, pentru că prin intermediul lor suntem avertizaţi prima dată. Iar dacă de la ele nu învăţăm nimic neplăcerea se va muta în viaţa diurnă. Astfel realitatea ne va atrage atenţia din ce în ce mai puternic (ajungându-se la diferite suferinţe, ce pot fi înţelese la rândul lor şi la nivel simbolic), până când nu vom trece la efectuarea schimbărilor cerute de suflet.

Lazarev – toate „nenorocirile” au ca scop purificarea Karmei (sufletului). Legat de ce ma preocupa pe mine spune ca la unii oameni pentru salvarea sufletului este necesara nerealizarea unor capacitati a acestora. Pentru ca aceste capacitati le-ar spori trufia la un nivel periculos, le-ar provoca o semetie si un atasament fata de aceste capacitati, adica fata de terestru (l-ar uita pe Dumnezeu).

2001-10-11T02:51:00.000+03:00

A trecut o luna de la atac. In acea zi am simtit cu totii ca ceva se schimba. Am urmarit toata noaptea evenimentele la Emil la CNN..., Am vazut si filmul cu Nostradamus. Aseara vorbea la radio parintele Galeriu despre necesitatea schimbarii constintei. Mai spunea si ca religia e singura care poate raspunde intrebarilor fundamentale. Se tot vorbeste ca au fost atacate principalele simboluri americane. Ma intreb daca intr-un alt plan acest atac nu reprezinta necesitatea prabusiri lumii noastre create pe baza unor valori materiale (s-a prabusit cel mai mare centru financiar).

2001-10-09T01:02:00.001+03:00

M-am hotărât, citind Jurnalul lui Julien Green să ţin şi eu un fel de jurnal. Motivaţiile lui m-au atins şi pe mine: autocunoaşterea şi perversitatea memoriei. În ultimul timp mă preocupă destul de mult disiparea trecutului, faptul că totul devine ceaţă. Poate de aceea obişnuiesc să privesc tot mai des vechile fotografii. Uneori îmi amintesc viu o scenă care nu pare să aibă vreo importanţă, dar mă face să mă mir de imensitatea trecutului faţă de ceea ce ne rămâne.

2001-01-16T00:57:00.000+02:00

Mintea - creata prin educatie, invatare, dresare ambientala, adaptare la aparente (personala) Sufletul (nonmintea) - atemporal, transcendent

Lucrul cu visele ajuta in doua directii: in directia confruntarii cu problemele actuale si in directia unei transformari a modului de a percepe si intelege.

2001-01-12T00:54:00.000+02:00

Exista o energie ce functioneaza ca un nivel de activare si ce are legatura cu sexualitatea si alimentatia. Pentru a extinde constiinta ai nevoie de aceasta energie. In cazul sexualitatii sau alimentatiei "necorespunzatoare" au loc replieri in eu, in ceea ce e cunoscut (comoditate). In schimb cand acumulezi prea multa energie sunt posibile tot felul de sentimente negative (nemultumire, neputinta) pentru ca esti cu constiinta activata la maxim, adica tocmai in zonele mai putin sigure de la margini unde te intalnesti cu noul, necunoscutul.

1999-11-04T03:58:00.000+02:00

In creier exista o adecvare la nivel de neurotransmitatori, in functie de starea psihica. Orice interventie exterioara asupra acestora inseamna ruperea echilibrului si fortarea psihicului la ceva nefiresc psihic in momentul respectiv. Probabil ca dupa psihicul incearca sa compenseze acest dezechilibru si dupa se cade in extrema cealalta.

1999-01-31T13:59:00.000+02:00

Animalul poate e mai apropiat de om decat alt om. Pentru ca are o constructie mai simpla si naturala ce e cuprinsa si in profunzimile psihicului uman. In schimb un om, tocmai prin complicarea lui poate fi mult diferit de alt om.

Societatea are valori, cerinte, aspiratii fabricate pentru omul mediu, mediocru. Asa ca e firesc ca la un moment dat sa nu te satisfaca si sa intri intr-un fel de conflict cu lumea.