InstitutionellBühne Protokol from Collaboration Brainstorm Meeting on May 22 In Barbad’s Room

Protokol by Babe

  1. The InstitutionellBühne is now making an “Institutional Tour” where they appear in different classes and perform “intellectual cabaret” – a combination of performance lecture, performance seminar, movement exercise, artistic research, and improvisation.
  2. These “intellectual cabaret” performances on the “institutional tour” have three elements: (a) a classroom site, (b) an imaginary institution, and (c) a formal patterning.
  3. For instance, their performance at (a) Claudia Hummel’s Projekt Kolloqium was about the (b) Verein Fur Neudeutsch and (c) involved the dialog between Babe’s monologue and the choral performance by the class.
  4. The next (likely) performance was in the (a) post protokol class and would center on (b) the social arcology’s labor’s plan to initiate a ‘Mimetic cascade” of bolos within Berlin, that is, the mass adoption of a post-capitalist social form; a voluntary communization
  5. What would the (c) form be? That was what they mostly talked about in the meeting.
  6. Arim spoke of the difference between the multcultural composition of xir neighborhood and the white PMC (professional managerial class) german-german composition of a recent workshop. This lead to the question of difference vs. similarity within the bolo itself: would it be a group of 500 of the same people, or of different people.
  7. In relation to this pattern, Arim suggested a formal excercise she learned at a movement workshop. The first participant creates a motion, the second repeats with a variation, and the third repeats the second movement with a variation.
  8. This, in turn, is related to the musical idea of “cadence” which Barbad had explained, the day before, to Babe: a cadence was the end of a musical phrase, the cadence of the movement, by analogy, was the variation.
  9. Barbad played music as they spoke about this, and they observed the difference between conversations with and without soundtracks. Why didn’t classes have soundtracks?
  10. Job spoke about a performance from a class of theirs: one split into four different parts, with a walk between these. Job wanted something more integrated; with the parts mixed up more.
  11. Barbad came in the room with a plate of watermelons that his aunt and uncle had offered. Babe tried to eat the peel of the fruit, and failed. Arim said that some people made kimchi from these peels. Barbad said that you could eat the skin of real watermelons. Watermelons from turkey and iran. That’s where these were from. He says the chinese developed a technique to make ultra-sweet watermelons and are now growing them industrially in the desert in spain. “So when you eat these watermelons, you are murdering the land”
  12. “But it’s the desert, it’s already dead, said Babe.” Barbad spoke later of the trade made between Iran and China, where Iran gave gas and oil and China gave all the old electronics and cars it didn’t want. He said his brother drove a chinese car.
  13. Babe asked everyone which person they would involve in the performance, if they could involve someone. Xir example was their classmate lilly, who loved to sing. Arim suggested a bassist. Barbad suggested his fiancee Ellie, an opera singer, a soprano.
  14. They spoke, too, of a workshop opportunity at Gorki; a partnership with students at the UdK in relation to the production of “Operation Mindfuck. “Let’s think from their perspective. What do they want out of it?” asked Babe. “An exhibition.” Job said. “or maybe a publication.” There were two previews coming up.
  15. The plot of operation mindfuck involved two interlocked plots, one concerning a journalist getting more and more involved in so-called “conspiracy theories” and the other about an effort to elect a fictional brand based character as the chancellor of Germany.
  16. What approach or toolset would work best for this workshop? The goal of a publication gave a specific shape, but what kind. Babe had a vision, right now, as xe wrote the last of the protocol, of a newspaper, distributed by a fictional character. Perhaps this performance was what the workshop could make?