2.She invokes the idea of ethnographic task-time - ie., rather than using measured time to structure task, 'activities or tasks are used to measure time'. For example, the time it takes to perform a mundane activity might define 'an interval of time called "a rice cooking" of "a pissing while"'. - p68
3. A year later, then, Rainer explicitly positioned The Mind is a Muscle
in contrast to this kind of event. Perhaps this was an acknowledgment of the futility of dance as protest, but moreover it proposed the different and more all-pervasive form ofresistance that Rainer has descibed since: resistance to any form of ideology, even the ideology of democratic protest which had become, to some extent, a form of acceptable mainstream acivity.
As a dance writer of the time succinctly put it, 'Without ignoring the world, Rainer is non-committal in an overcommitted age.'-p74
4.I begin with this picture of the urban field in mind to figure The Mind is a Muscle 's medium - dance - as the simplest and most economical meeting point between behaviour and aesthetics. In this picture, its specialised language is just one kind of physical activity among the vast range of activies people would have been carrying out in parallel with the performance in question. Perhaps, as Rainer imagined in a diary entry in 1952, they were, 'sleeping, awaking, dressing, eating, crapping, working, copulating, bathing', among other things. The repetitions, patterns and gestures of The Mind is a Muscle appear here as a small section of activity in an expansive field of human action. It is from such a viewpoint that Rainer's conception of 'ordinary dance' as it was situated within the realm of everyday life begins to come clear.-p1-p2