COOKING AS COMPOSITIONAL LOGIC

COOKING AS COMPOSITIONAL LOGIC

MODEL

Composition is compared with preparing and serving food.

INGREDIENTS

Possible ingredients include:

• line-dance phrases;
• references;
• bodies;
• music;
• images;
• spatial zones;
• sounds;
• claps;
• breath;
• cultural material.

PREPARATION

Questions include:

• What must be cut?
• How large should each element be?
• What needs preparation before entering the whole?
• Do all available ingredients need to be used?

HEAT

Heat can correspond to:

• intensity;
• pressure;
• speed;
• density;
• physical effort.

Questions include:

• Is the heat too high?
• Does the material need to simmer?
• Is escalation necessary?

TIMING / DURATION

• When does an element enter?
• How long is it sustained?
• When is it removed?
• Is it finished?
• Has it continued beyond usefulness?

PROPORTION

The artist considers the balance among:

• movement;
• silence;
• density;
• emptiness;
• music;
• individual action;
• collective activity.

SERVING

Serving concerns how the audience encounters the work.

DIRECT Q&A

Jeremy states that the line dances functioned as ingredients.

How the group used them together formed the dish.

Sharing the Open Class with the audience became the meal’s consumption or encounter.

ACTUAL DINNER

The Q&A refers to the group cooking together on Wednesday.

This practical experience supported the metaphor.

Do not invent:

• the menu;
• assigned roles;
• a complete cooking protocol.

CONTROL

The cooking model allows poetic composition to be approached through controllable variables.

It does not claim complete control over live performance.