Daniel Sack

The Reciprocating Saw

Given a properly adjusted reciprocating saw, accessories, instruction and demonstration of use, each student will be able to: A. Identify the major parts of the reciprocating saw. B. Pass a written test on safety and operating procedures of the reciprocating saw with 100 percent accuracy. C. Demonstrate ability to use the reciprocating saw, following suggested safety rules and correct operation procedures.

Walking In and Out of Place

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Walking In and Out of Place: the Pedestrian Performances of Tim Robinson

Walking is a passing over time: the body present in each step’s fall into lack, catching itself on the ground, already future-bound, moving forward with the next step while inscribing the past in the last footprint. For 40 years the English expatriate Tim Robinson (born 1935) has walked the rural coastlines of Western Ireland (the Aran Islands, Connemara and the Burren) producing a substantial body of books, essays and hand-drawn maps that detail his own body’s fleeting engagement with the natural and cultural landscape of these desolate regions. Bringing the historical events of a place into present discourse, Robinson’s mediations and meditations on and of the land disrupt an economy of stable coordinated places to propose other ways of knowing and doing. This chapter is an exploration of how we might think of the rural walker as a performer and how his or her practice traverses the outsides of monolithic meaning inherent in the standardized map.

The Brilliance of the Servant without qualities: Bare life and the horde offstage

ABSTRACT In investigating the nature of plethora and bare sufficiency onstage, Howard Barker pursues the limit case between the possible and the impossible that has haunted the theatre since the Attic tragedy. This article explores the ways in which the playwright makes use of the offstage space as a repository for the unknowable future, the spatially excluded as a site for the temporally excluded. I read a lesser-known work of Barkers, The Brilliance of the Servant, as the sacrifice of bare life to unknown potentiality, where the eponymous servant submits to the torture of a horde of barbarians occupying the offstage space. Like the messenger of the classical tragedy, this figure traversing the border between the scene and obscene announces a new kind of characterless character, without desire and without objectives, but rich with a plethora of messages.