Scene 1. Apparatus of capture: Between South and Southeast Asia The notion of existence involves the notion of an environment of existences and of types of existences. Any one instance of existence involves other existences, connected with and yet beyond it. This notion of the environment introduces the notion of the 'more and less', and that of multiplicity. Scene 2. Choreography of present How does one create a body that can respond adequately – both kinetically and perceptively – to movement, if movement is, in itself, the imperceptible? If movement-asthe-imperceptible is what leads the dancing body into becoming an endless series of formal dissolutions, how can one account for that which endures in dance? How does one make dance stay around, or create an economy of perception aimed specifically at its passing away? Scene 3. His ( story) of the future The Future is not what it used to be. –Theodor Nelson
We have been living through boom times for the word future. Even before the escalating storms of the early 21st century, our cultures and industries collaborated in a remarkable proliferation of words and images about this impossible object. In recent years, the very thought of future has been spectacularized in extraordinary ways. Whether in visions of progress or apocalypse, our media have been overflooded with anticipations of things to come, with utopias, dystopias, stories of time travel and artificial intelligence, with accounts of acceleration and progress, of doom and imminent destruction, with scenarios, predictions, prophecies, and manifestos. Since the rise of the digital economy, even the benighted “science” of futurology has come back into style.
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