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Tuesday, April 24, 2012



Since 1975,I have been appearing astrally/invisibly as art so that when Linda Weintraub invited me to meet her Oberlin students and I couldn't, I proposed that I meet with them via video, trusting that my technological presence could teach as well or better than my being there physically.

The students made a video, asking me questions/performing, sent this video to me, I watched it and answered/performed on another video, sent it to them and on and on, one more time.It could have lasted forever as a circle of creativity.

Distance teaching performance is one of the future strategies of academia. Here are some reasons why invisible learing is so hot: 1.Video is familiar and easy for today's students because it mimics TV, their techno friend and baby sitter. 2.Video elicits a performative response from the user and satifies the universal need for visibility and stardom, a need this generation is born with.3.Video temporarily eliminates authorities/judges/censors/audience and since the cameramorphs into a robotic other "self", viewing and seeing the live "self", anonynimity is assured. 4.Video IS cold and allows the performer to be hot/cold/intense/intimate or distant. 5.Video is a meditative facilitator, allowing the user to technologically journey/journal themselves autobiographically until their history is repeated long enough to be silenced into acceptance.

Performance art is popular, taught everywhere, commodified by the media and in need of explanation, clarification, context and historical interpretation. While the originators of the contemporary version of the genre (1960-1980) are still alive (since Sept 11,2001,this is even more applicable since travel is no longer a reliable option)and available,it would be wise to use US WELL either in person,or better yet,let us STAY HOME and we'll teach by video or phone while we wait for the 4837487 other technological versions of distance learning to appear.




1.learn disciplines,
2.how to look for miracles,
3.talk in accents,
4.wear a habit(all yellow clothes),
5.how to get up early,
6.exercise into oneness,
7.take pilgrimages to sacred places,
8. take cold showers to prepare for next winter,
9.eat sparingly(rice and beans every day)fast one day a week,
10. research stories about saints and also performance artists.

Some discipline you will learn are
2. how to walk and smile simply,
3. how to live without hot water,
4. how to live without art,
5.how to live without sex,
6.how to remember to turn lights off when leaving a room,
7.how to make a hair shirt and other penitential objects and enjoy using them to inflict penances on the self,
8.how to live on air when hungry,
9.how to live without the use of your refrigerator over the Christmas holidays,
10.how to spot a martyr,
11.and many other usefull skills.

At the successfull completion of these hardships you will receive

TO APPLY:Send a two page bio and answer these questions: WHY I WANT TO BE A PERFORMANCE ART SAINT AND HOW I HAVE BEEN ONE IN THE PAST.

BRING: walking shoes, sleeping bag, swimming suit, your habit(all yellow,everything,)tape recorder and tapes.

WHERE:Exit 19 on Thruway.Broadway to Abeel.185 Abeel.

DONATION:$250 one week

SEND:A self-stamped envelope with bio,photo and /or self portrait to LINDA M MONTANO 9 John St Saugerties NY, 12477 ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

Teaching PERFORMANCE 1980

Many artists who do performance also teach it and sometimes acting creatively as a teacher with students can be as equally rewarding as teaching itself. In fact it has been said that teaching is or can be considered performing(see Joseph Beuys) since what is similar between the two activites is the heightened awareness which results from focusing on a very inclusive and compelling activity to the exclusion of anything else...the mind becomes one-pointed and that is a high art.

 As performers, artists choose personal ways to focus their attention and as performance teachers, artists observe the focused actions of students and videos of students in a think-tank environment along with the other students waiting to perform.

 The energy can be quite electric because they are not only performing but critiqueing and analyzing and making corrections of their own work and the work of each other.

That's the ideal.

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