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Keybot 3 Results  www.lescampingsderoyan.com  Page 9
  Kanuti Gildi SAAL  
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Tegemist on monumentaalse ülesandega, kuna ooperi kirjutamise ajal ei olnud moodne muusika ega lavatehnilised võimalused arenenud tasemeni, mida Manfred oma loomingus lootis kasutada. Seetõttu puudusid ka väljakujunenud viisid nende kirjeldamiseks ja mitmel puhul on kirjapandu mõistmiseks olnud vaja kõigepealt taasluua keel, milles märkmed on algselt talletatud.
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After almost two years of insistent work, the group of more than 10 creative members of MIMproject have worked their way through most of Manfred MIM’s notes and restored and deciphered the musical score. It is a monumental task, as at the time he wrote the opera neither the era’s modern music nor the stage technical facilities had developed to the level Manfred had hoped to use in his work. Therefore, some of the notes have been recorded in an unprecedented way and on many occasions the first task is to recreate the language for reading his scripts. Even now many of his ideas need the use of newest technology and it is very likely that quite a few of those elements will be used for the first time in an opera.
  Kanuti Gildi SAAL  
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Sel ajal, kui publik sooritab tegelikult üht osa etendusest, on ta ikka veel kantud Dimchevi geniaalsusest. Ja kindlasti ei jääda Ivo kohalolekust ilma ka laval, kuna sündmus tõstab tema head tuju ja mõtteselgust ainult esile.
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“P project” is an interactive performance, which – according to Dimchev – is based on words starting with the letter P: piano, prey, pussy, poetry, Poppers … Now let’s add one essential syntagma on P to that: paid public participation. While the audience indeed carries out one part of this performance, it is still infused with Dimchev’s genius. And we will most certainly not be deprived of Ivo’s presence on stage, as this event only serves to highlight his good humour and lucidity. Claiming that the performance tests the audience’s boundaries just wouldn’t do it justice. Dimchev has no desire to ridicule people, make them uncomfortable, or explore how far they are willing to go. The connections it forges are much more transparent, defined by free will and paid work – a rare situation, and perhaps one that now only exists in its pure form in theatre? Performer pops (up). Playing, prancing, paying. Pronouncing publicly: participation persistently pursued!
  Kanuti Gildi SAAL  
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Selles raamis jätkab ta teemade arendamist, mis käsitlevad tema kogemusi arvutitüdrukuna, suhteid IRLi ja URLi vahel, tema virtuaalmaaniat, üliteadlikkust ning mõju, mida sotsiaalmeedia ja tema internetis elatav elu avaldavad tema persoonile, s h sellisest enese eksponeerimisest tekkinud tohutut üksildust.
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The aim of the project was to investigate how the imperative for autopoiesis, which is imposed by the Internet, has influenced Metsalu’s life and art production and what are the conditions and possibilities of selfsubjectification that happens while designing and mediating one's own image via social networks. Throughout the research trilogy Metsalu proposed an investigation of modes of exhibiting and producing by taking a faux art gallery as a character as the starting point. Within this setting she continues to develop topics around her experience as a cam girl, relations between IRL and URL, her virtual obsession, hyperconsciousness and the influence social media and her life online has had on her persona, including the immense loneliness which this self exposure has led to. Metsalu`s body seems to aim for its own disintegration and reconciliation when mirrored through the beholder's gaze by her investing in precarious intensities, oscillating between states of pleasure, indifference and suffering. Such is the outcome of her obstinate desire to take charge of the design of her on subjectivity and her body image in relation to fashion, contemporary design and visual culture, as she is interested in the fabrication of her body as a character and as a brand displayed in a flickery landscape. Throughout the“Fuchsia” project Metsalu questions the arbitrariness of her working life through acts of selfdisplay as an object of spectacle something that she both embraces and refuses and has an interest in creating an almost allinclusive structure, which can accommodate both chaos and its refusal through an organising symmetry and iconographic imagery.