This performance is the final version of a Aufführungs trilogy took place in 1978 and in the National Gallery of New South Wales held in Melbourne. In the courtyard had Klauke built 5 different heights, double Zieglesteinmauern in 4 meter width as obstacles to it on endless loop of Jimmi Cliffs title song “The Harder They Come” was walking around the walls, turned, danced, swayed and thereby gradually wantonly tear the walls. In “The Harder They Come I and II”, which took place in the same year at an international performance meetings in Belgrade, the artist had however built a brick labyrinth with strings randomly braced so that moving and overturning of bricks here rather a random character receives. THE HARDER THEY COME III (ARCHITECTURE OF A CITY) from Jürgen Klauke on Vimeo. In this third performance of the first wall was very low, with 2 bricks and at a distance of 3 meters each, the next hurdle follows through to the final, which was higher than Jürgen Klauke. It starts slowly and concentrated more and move around in circles around the walls and rotates itself, running partly backwards. Over the Life-action admits he deliberately from his body at corners with bricks, running over the small wall and pulls over brick with him until he finally end with full force of his body topples the Great Wall. Two aspects of this staggering and shows start against walls: anger and aggression that make bricks in the case loudly and felt the pain, physical injury inflicted Klauke. Shall propose the rage back even to himself, as he feels it in his own body. A powerful image Jürgen Klauke used here does not start against walls could more clearly illustrate the rigid barriers and narrow boundaries in everyday life. Clearing up of bricks and the tearing of the walls is liberating leaves as opposed to strict, speechless hurdles a random brick box that speaks of aggression and destruction, but has exposed the simmering energy. Lilian Haberer
LIGNA, “The Future of Radio Art: A Monologue for a Broadcast Voice in a Pedestrian Zone” Radio art as dispersion, communication, and voice on the street. Repetition Excuse me if I repeat myself. I don’t know if I’ve made myself clear. You are listening now to a repetition. Hi, I am talking live. I am talking only to you. Now I am talking to you but it is only a repetition. Not only, but more than one repetition. To be honest, I don’t mind repeating myself. I like it. I am radio. (179)
In Islam, Qira’at, which means literally the readings, terminologically means the method of recitation. Traditionally, there are 10 recognised schools of qira’at, and each one derives its name from a famous reader of Qur’an recitation. cite mid-15c., “to summon,” from O.Fr. citer ”to summon” (14c.), from L. citare ”to cause to move, arouse, summon, urge, call,” frequentative of ciere ”to move, set in motion, stir, rouse, call, invite” from PIE root *keie- ”to set in motion, to move to and fro” (cf. Skt. cyavate ”stirs himself, goes;” Gk. kinein ”to move,” kinymai ”move myself;” Goth. haitan“call, be called;” O.E. hatan ”command, call”). Sense of “calling forth a passage of writing” is first attested 1530s. Related: Cited; citing.
[…circuiteye…Hackney Wick…23.04.12] Performance Writing Exercise #5 [10 min. run] Open Word Select Word Art Set Default Settings to ‘Circle’ Word Art Stretch Out Legs Leave Laptop on Run Out The Door Run around the Block Keep Running Around the Block Keep Your Eyes Forward Keep Your Ears Open All Around Keep Running Run & Remember Feel Your Body Start to Slow Run Back to the Studio Run to the Laptop Start Typing Keep Remembering When You Think Your Finished, Keep Going Delete the First 9 Lines Punctuate the Last Line with Elipses Press the Return Key to Divide the Line Up Even More Press OK See the Result
currioddity: This is definitely me. “Another motive for gloom is grandtsanding, for the bearer of bad news is less likely to get shot than to acquire a certain authority that those bringing better or more complicated news won’t. Fire, brimstone and impending apocalypse have always had great success in the pulpit, and the apocalypse is always easier to imagine than the strange circuitous routes to what actually comes next…” Solnit, R. (2010) Hope in the Dark. London: Canon Gate Books.
So we have a name for the Tooting Market Project: ALGORITHMS [Wait! Come back! Don’t be afraid!] noun a set of rules for solving a problem in a finite number of steps, as for finding the greatest common divisor. Origin: 1890–95;  variant of algorism,  by association with Greek arithmós ‘number’. See arithmetic Inspired by the contextual algorithmic art projects by the artist Stephen Willats [see posts coming up], have we just thought about constructing a living structural, architectural algorithmic maze of our penchant blue plastic bags. Audience will be invited inside the glowing blue plastic labyrinth and will instantly be faced with decisions as to which way to go- will they take the left or the right door? With each decision will they be lead further inside the immersive installation, exploring nook-and-cranny one-on-one encounters with performers hidden side our own Blue-Box-Trading-Box. —This would provide an excellent method for devising and textual implication/scripting into the performance. It reminds us Fluxus performance games—
Having chanced upon hearing about an open-air theatre called ‘The Scoop’ right on the south side of the river Thames, right next to Tower Bridge, I took a derivé and discovered a new kind of amphitheatre.  To my pleasurable surprise, I found a personal trainer pep-talking and pushing a middle aged City worker to lift an oversized shot-put weight around the circuit of the space, his breathing echoing eerily in time, cut off by the sharp erudite commands of his trainer urging him to work harder…The performance of intimate intensive exercise held within the public site of an area, turned arena, becoming theatre… …a theatre for public spectacle surrounded by the theatre of private investment capitalism… I heard they have a summer programme of fringe theatre, music and live events: Wouldn’t this be the perfect location for a performance of Run! City! Run! (?) Right by rapid waters of the river that could one day destroy the city in a near, yet disputed, future… Joggers and athletes frequently cross along the embankment of the river allowing for the opportunity for ‘invisible’ theatre with spect-actors… The amphitheatre itself is ‘circuit’ shaped, allowing for runner to run around and out again… Right in the heart of Central London, the place couldn’t be more perfect to bring the expectant and unwitting audience together in the public context… Given its postmodern architectural spin on the ancient site and space of the amphitheatre, the acoustic potential for the space would be superb for all kinds of ‘surround sound’. Now- who do I contact to get us the gig?!