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choreography as form of protest (when, or in which moment, a movement—in…

- - - - placing the movement within the internal structures-not only a question of kinetics but also intensities
      - a suspension of temporal flow
      - WHEN AND HOW DOES ARTISTIC PRACTICE BECOME MEDIUM OF PROTEST
- - - - [a]s soon as boundaries are defined sharply, elements must be attributed either to the system or the environment” (Luhmann 1995, 28). As already shown through Duran Adam, elements like this can be temporarily uncoupled and cause difficulties in the differentiation and placing of and in systems.
    - - SOCIAL CHOREOGRAPHY - “a performative structuring of body practices in time and space, as an analytical category that allows reflection of the social, as well as exposing the relationships between the aesthetic and the political”
      - could slip out of the organisation - unstable social-artistic activity
- - - - systems exist by differentiating themselves from the environment and regulating the boundary to regulate the difference
        
        communication is a key element in the differentiation and constitution - for eg. social system
        
        how is co-shaping and similarity then possible???
        
        self-referentiality - openness to the environment are not contradictory
        
        subverting the idea of the classical dichotomy of inside and outside. - HOW ON EARTH???
        
        for instance, that writing must be legible, and music recognizable as such, that is, distinguishable from noises, or even more simply: that that which we encounter in concert halls, literary texts, museums, etc., is art. Without the establishment of such expectations ... art would no longer be able to reproduce itself; it would leak into the everyday and trickle away. (Luhmann 1986, 11)
- - - - “dance emerges through the mobilization of participation in relation to a choreographic idea” (1998, 4)
        
        Martin does clarify his ideas and places his theorem of mobilization within a triangle of dance, choreography, and participation.
        
        The concept of participation contributes particularly to understanding the connection between movement and politics.
        
        Was that the dance? By initiating this common reflective activity on what has just tran- spired, the audience imposes a direct physical imperative on the dancers, an authority that until now was reserved for the choreographer. . . . The audience decides that the dance is complete [and] what the choreographer began—getting dancers to move with something in mind—the audience here continues. (Martin 1998, 33)
        
        copresence - Lichte
        
        Via Erika Fischer-Lichte’s idea that copresence is a necessary constitutional condition,7 Martin grants the audience an active position not only in the sense of a physical and atmospheric presence, but rather as a temporary authority that takes on authorship of the ending and therefore draws the distinction between dance and no-longer-dance.