This is so great. Isabella Rosselini is educating on bees, spiders, snails and other insects.
I can’t stop listening to this little gem
Choreographed by Ruairí Donovan
Made in collaboration and performed by: Asher O’Gorman (UK), Cathy Walsh (IRL), Isabella Oberlander (AU), Karina Sarkissova (SE), Claire Keating (IRL) with an Ensemble Community Cast from Cork.
Producer: Aideen Wylde
Lighting Designer: Deirdre Dwyer
Cork Midsummer festival, 21-23 june 2013
Heres some cool performance I just stumbled on
more can be seen here
I am out of school.
WHAT DOES THIS MEAN?
So far, reconfiguered day routines, everything and nothing is procrastination. And that I have chosen a profession that is not very material. Maybe 5 % is performing. The rest is organization, application writing, social encounters and a constant search for something material worth investing in.
My friend Thijs has a good formulation of these times:
’Precarity’ is a socio‐economic notion that refers to current forms of fundamental insecurity of income and livelihood affecting a variety of social groups: from artists to academics, from unskilled workers to those working in the much celebrated ‘creative industries’. ‘Mobility’, ‘employability’, ‘self‐entrepreneurship’ and ‘flexicurity’ have become catchphrases across many sectors of society and have become a daily experience for many. In opposition to the jargon of policy makers, a growing number of artists, theorists and activists propose a critical reading of precarity as a key notion in understanding contemporary society and culture. Precarity can be seen as a symptom of shifting socio‐economic and power strategies (intimately related to global, neoliberal capitalism), and therefore have a profound effect on culture. In order to grasp the many dimensions of precarity and its relation to contemporary forms of life, a variety of intellectual disciplines (philosophy, sociology, cultural studies, economics, political theory) and collective practices (performance art, activism, counter-cultural community formations) try to think and figure the ‘precarious subject’. From here onwards, central question include: How can precarity be linked to biopolitics? What kinds of resistance to precarity are emerging? Can new forms of engagement be found in cultural and critical work related to precarity? To what extent is culture instrumentalized in contemporary practices of governing and even championed as a model? How is precarity claimed as an identity in contemporary culture as well as social movements?