Privacy in accordance with BADco's Memories are made of this …

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Notes

¹See in particular Paolo Virno (2004). [ed.]

² Memories Are Made Of This… performance notes is a project which, metaphorically speaking, travels within a complex topology of memory. It borrows the name of a popular Dean Martin song while exercising F. Scott Fitzgerald's observation that ‘the test of a first-rate intelligence is the ability to hold two opposed ideas in the mind at the same time, and still retain the ability to function’. BADco. is approaching the topic of memory via a process intrinsic to it - forgetting - suggesting two possibilities of entering this complex subject matter: to think in terms of vacuity, blankness, deletion, and further on, mental fissures and emotional crack-ups. The project operates as a notebook, a collection of performance notes and/ or notes for a performance. A note is a reminder, a souvenir of some past situation, without an exposition yet open to all possible re-interpretations and fictionalizations, a marker of the possibility of a perpetual divergence. The performance is a kind of kaleidoscopic dérive through the fragmented textual tissue of F.Scott Fitzgerald's story ‘The Crack-Up’, situational and atmospheric components of films dealing with memories, traces of dance materials and its spatial structures, and distorted real-time video material, all put together so as to create a complex network of performance elements combined in such a way to allow ambiguous readings, interpretational short-circuits and crack-ups in one's ability to deduce a coherent linear whole out of things presented. See <www.badco.hr>.

³BADco. is a Zagreb-based collaborative performance group founded in 2002 as a non-profit organization to produce collaborative performance work by Pravdan Devlahović, Tomislav Medak, Goran Sergej Pristaš, Nikolina Pristaš and Ivana Sajko. The artistic work of BADco. is not so marked by the choice of subject matter as it is by the production of various problematic aspects of working in/as collaboration, i.e., through specific ways of self-organization of the authors involved in a particular project during the process of work. The authors see their performances as performance machines that can enter various referential contexts such as social, political, intimate, dance and artistic contexts in general. Instead of thematic naming, which stands closer to the traditional ideas of theatre, the group prefers thinking in terms of eventality. See <www.badco.hr>.

⁴See also Paolo Virno's discussion of the dynamics of grammar (2004). [ed.].

⁵The distinction between differentiation and differentiation is made here to identify a double aspect: the conjunctive layout ( differentiation ) which is qualitative, and the disjunctive laid out ( differentiation ) which is quantitative. [ed.]

⁶See for example the discussion in A. B. Dickerson (2004). [ed.]

⁷See for instance: ‘The application of logic decides what elementary propositions there are. What belongs to its application, logic cannot anticipate.’ (Wittgenstein 1922: 5.557). [ed.]