Tools
Work in progress from 2023
A performance that investigates the potentiality of the meanings of the wooden stick. I explore the unspoken knowledge of the social relations mediated by the stick, extending its potential as an instrument of play, labor, and violence to an actor that influences the human body.
Work in progress from 2023
A performance that investigates the potentiality of the meanings of the wooden stick. I explore the unspoken knowledge of the social relations mediated by the stick, extending its potential as an instrument of play, labor, and violence to an actor that influences the human body.
Explore your relationship with a wooden stick:
- Find a stick
- Labor with the stick
- Fight with the stick
- Be an animal with the stick
- Do exercises with the stick
- Play on and with the stick
- Produce pleasure with the stick
- Drop the stick
- Ascribe a different corporeality to it through your gaze
- Become a stick
- Leave the stick alone
Tilda Publishing
"So long as culture was explained as originating from and elaborating upon the use of long, hard objects for sticking, bashing, and killing, I never thought that I had, or wanted, any particular share in it. ("What Freud mistook for her lack of civilization is woman's lack of loyalty to civilization," Lillian Smith observed.) The society, the civilization they were talking about, these theoreticians, was evidently theirs; they owned it, they liked it; they were human, fully human, bashing, sticking, thrusting, killing. Wanting to be human too, I sought for evidence that I was; but if that's what it took, to make a weapon and kill with it, then evidently I was either extremely defective as a human being, or not human at all."
Ursula K. Le Guin, “The Carrier Bag Theory of Fiction,” in Dancing at the Edge of the World (New York: Grove Atlantic Press, 1989)
