SP1 by VIVAN

HOLD IT AGAINST ME by Jennifer Doyle

CHAPTER 1 – INTRODUCING DIFFICULTY

Our faculties break down when an artwork reminds us of something so painful, or makes us so mad, or is something we like so much. Writer in a way tries to tell us that difficult is because every human being has his own limit in certain thing.

The writer is looking at the difficulty that many of us have with come forms of contemporary art and the centrality of emotion to that kind of difficulty.

Emotion is one of the main factor that make our experience of art harder, but that experience become more interesting.

Doyle came out with many questions that related to feeling that is impossible to answer, such as: does a feeling come from inside the spectator of from the artwork? does an artwork represent feeling? does a work makes feeling?how?

She used the example of film and live performance of art and compared them. Why is it easier for us to watch an upsetting movie than it is to keep company with contemporary art that makes similar emotional demands on us? I somehow think that the reason could be the live event of contemporary art looks more real and more close to us. Film contain less realness maybe?

‘The difficulty of meaning, is packaged as cool, distanced, and anti-emotional.’

The writer has mentioned many situations about the government and politic that having difficulty to accept certain artworks (that relates to homosexualities for example) and not willing to give support to the performance. The expression of specific points of view become stunted as institutions hesitate to support challenging work and as artist anticipate censorious attention.

‘is it art, or it is a crime?’ all these have shown the limitation (which crewe difficulty) of acceptance by different human being in different position (government, religious people, artist, conservative people…) that created many thought, question, reaction.

Some artists created artwork with the intentions to challenge their audiences. Somehow leave us unsure of how to react, confused about our own emotions and the place of those feelings in relation to the work itself.

underground artists are underground precisely because their work off the disciplinary grid, spatially and conceptually. Work out commercial space.

The key points of the difficulty of the artworks are tied to their emotional and identificatory geomatries( like we see blood in live performance, some of us panic, but people that work in hospital which often see blood and for them it is normal, they might not feel panic at all).

 

CHAPTER 2: TOUCHY SUBJECT: RON ATHEY, Incorrruptible Flesh

In this performance, Athey was putting himself in a pain situation where he pierced his face in multiple points and hooked them up above his head, and turned his face into a painful mask. Audience is allow to wear glove and touch his body if they want to.

Amelia Jones thinks that his performance as an ‘ethics of embodiment’ that begins with the dehabituation of the body. He represented his body as penetrable, leaking and vulnerable.

The body is presented aggressively to the viewer, yet audience access to it is strictly regulated.

Many writer and magazine refuse or did not write about Athey’s work because they found it difficult to critic. Not in the range of what they able to write somehow. Can say that his works challenge art critic to write about them.

 

THE QUEER ART OF FAILURE

CHAPTER 4  SHADOW FEMINISMS: QUEER NEGATIVITY & RADICAL PASSIVITY

Freud famous question: What do women want?

Writer talked about woman and feminism. She speaks about Hindu widow where there were many widows commit suicide after her husband death, to avoid herself live as a widow (degradation, being humiliate)

The writer used the example of Chicken Run, ‘we either die free chickens, or we die trying.’ but another hen replied, ‘Are those the only choices?’ Reflecting : feminist refuse the choices as offered – in order to think about a shadow archive of resistance, one that does not speak in the language of action and momentum but instead articulates itself in terms of evacuation, refusal, passivity. – antisocial feminism.

Collage seems feminist and queer. Collage,  has been used by many female artist, to bind the threat of castration to the menace of feminist violence and both to the promise of transformation, not through a positive production of the image but a negative destruction of it.

Looking at Kara Walker’s work, they are catalogues of both racial violence and the erasure of such violence through the theoretical association of art with beauty. She used art as bait and deploying the female body in particular as a site for the negative projection of racial and colonial fantasy. For the writer, Walker used art to turn racism and sexism as a mirror is call Feminist Negation. Writer also thinks that artworks like Cut Piece by Yoko Ono and Rhythm 0 by Marina Abramovic were not rescuing the woman; rather they hang her out to dry as woman. Or instead make feminism into sacrifice.

From what I understand about radical passivity they writer explained through the works of Marina and Ono, offer an antisocial way out of the double bind of becoming woman and thereby propping up/strengthen the dominance of man within a gender binary.

Masochism, represents a deep disruption of time, tension between pleasure and death. Like The Cut Piece, offers quiet masochistic gesture, the refuse to resist, to be cut to be bared, to be violated publicly. Think it as the site of failure.

 

UGLY FEELING by SIANNE NGAI

Introduction

Ngai shows how art turns to ugly feelings as a site for interrogating its own suspended agency in the affirmative culture of a market society, where art is tolerated as essentially unthreatening.

The aesthetics of negative emotion, in literature, film and theoretical writing to explore similar ambivalent (unsure) situations of suspended agency.

This book approaches emotions as unusually condensed ‘interpretations of predicament (difficult situation)’ – signs that not only render visible different registers of problem but conjoin these problems in a different manner. Focus on the negative effects that read the predicaments posed by a general state of obstructed (blocked) agency.

Envy (of the disempowered for the powerful)

Paranoia (about one’s perceived status as a small subject in a ‘total system’)

Fear is transformed into n operational requirement. a special tool of the trade. Fear of losing recently gained privileges, anxiety over being left behind translate into a reconfigure (readjust) oneself.

These noncathartic feelings in this book could give rise to a non cathartic release(suspended action) and does so as a kind of politics.

Synthesis of boredom and shock, she called ‘stuplimity’.

A special relationship between ugly feelings and irony. These feeling tends to produce an unpleasurable feeling about the feeling. For example: I feel ashamed about feeling envious. the doubleness. Irony – between the said and the unsaid.

Anger – centrality to the pursuit of social justice.

Irritation – an inadequate form of the anger.

 

PRACTICAL PREPARATION

The work I have chosen is Given Over To Want by Nao Bustamante.

The reason I choose this performance is because it interests me in many ways and I found it relevant to the reading for Embracing Failure. Firstly, I am interested with her ‘ugly’ body (fat, oversized) which has somehow represent her failure of having ‘perfect’ body shape like the expectations from the society. Secondly, I feel it is interesting that she changed her look into alien-like and her look allows you to imagine as you like. Thirdly, I see the what I think is abjection on her performance in Given Over To Want. She humiliated herself by dressing herself in an ugly way, with tapes, white clothe, fruits (as her high heels shoes), wine in a box was sticked on her head and etc. There was a moment that she started crawling on the floor, it gave me an image of an animal (dog perhaps) and at the same time trying to drink the wine that dripped out from the wine box above her head. This image was so disturbing me, it was totally abject in herself and self-degradation as a fat woman acting like an animal to me.

Many negative feelings emerged in me while watching the video. Distraction, embarrassment, disturbing, curious, disgust and maybe more.

There was expectation while watching her performance, to see her bare body and show her fatness. When the wine was dripped out, it makes the white clothe turn into partially transparent especially her breast. I expected she get herself half naked or something but she did not do that.

I really like the way she turns those props into her costume. I think it was so creative, especially the fruits above and under her feet. The way she taped herself with those props was interesting to me as well. I thought it was a good strategy to used those props to change her shape/look into something different.

Everyone wants to look beautiful or more beautiful, Bustamante was completely the other way round. She makes her ugliness (fatness) more ugly and challenge her limitation of ugliness. Never afraid of show it out. In a way, she has create her own ‘Freak Show’.

 

 

I have taken the idea from Mario Banana by Andy Warhol and combined it with the inspirations from Given Out To Want.

I like the part in A Family Finds Entertainment where the man doing some idiot stuff in the toilet with fake blood, selfie in the toilet and other stuff. He always appeared with some black colour things on his teeth which has becomes his significant image.

I just to use the idea of creating failure in a small space of toilet and try to copy some of his stuff in my videos. Yet I still added in some dance movement from my previous video.

It is quite hard to documentary myself without anyone helping me, and there was some technical problems. I wish I can edit these videos and combine them into 1 video.

 

In this video, I was like eating my own shit. I hide the peanut butter near beside my butt, and my action kind of like I am using my hand to dig out my own shit and eat it. It was just some stupid idea that I had.

 

This video is I was trying to imitate the guy in Trecartin’s video, trying to suicide and all the fake blood coming out from his nerves. I don’t have any tomato sause so I used lotion to somehow represent blood.

This is the idea of copying the guy with the black colour things sticking on his teeth, and I just combine that image with my previous dance movement, just try to see the effect.

From the feedback that given by Lauren, which is to try dance in an impossible situation (such as splashed eggs on the floor), but obviously I can’t try that in my house, so I was just trying to dance in my bath room with the shower on. It was just experimenting for myself, but it was quite hard to move. Not only because the wetness of the floor and also the space is so small and I was hitting the wall many times.

SEX OBJECTS by JENNIFER DOYLE

TRICKS OF THE TRADE: POP ART & THE RHETORIC OF PROSTITUTION

Andy Warhol: ‘making money is art and working is art and good business is the best art.’

The writer speaks about Andy Warhol’s work:

In Warhol’s work, a rhetoric of prostitution links sex and work to give the critic leverage to distinguish Warhol’s work from the kind of work other people do and to make the judgement that his art fails to provide a meaningful social critique. Moreover, in figuring his relationship to his work as a form of prostitution, frequently discredit his relationship to art by saying that he also has a perverse, unnatural, destructive relationship to sex. Somehow saying that his work is an abject figure.

There are many discussion about Pop Art. Some declaring that Pop is not about art but about sex and on the other hand that this sex is not about love but about money, therefore, perverse.  Thomas Hess said that Pop was ‘phony’ (metaphor of drag & prostitution) because it was motivated by money.

Artists and authors came to depend more and more on the market of their livelihoods, their work of art becoming a kind of sex work.

As Doyle mentioned, figure of prostitution, sexual abjection dominate paintings, novels, and poems associated of the modern. The prostitution has been a powerful symbol of modernity and for the alienating aspects of modern life.

If we do not find prostitution, we find overlapping figures for sexual abjection and economic perversion in, for example, the recurrence of the actress (another kind of ‘painted women’), celebrity (a living commodity).

‘We experience in the nature of money itself something of the essence of prostitution. The indifference as to its use, the lack of attachment to any individual because it is unrelated to any of them, the objectivity inherent in money as a mere means which excludes any emotional relationship-all this produces an ominous analogy between money and prostitution.’  by using prostitution to describe the devastating(highly destructing) effects of money on the individual understanding of own value.

‘How sex sells art and art sells sex, how art sells itself and of how all of these things are the invisible supports for the system by which art is identifies as such.’ 

 

THE QUEER ART OF FAILURE by JUDITH HALBERSTAM

CHAPTER 3 : The Queer Art of Failure

This chapter start with a strong statement which I really like.

‘IF AT FIRST YOU DON’T SUCCEED, FAILURE MAY BE YOUR STYLE.’ Quentin Crisp.

Looking back at my essay for CS1 about Vanessa Beecroft & Vaginal Davis, this statement is relevant for Vaginal Davis especially doing the comparison between these 2 artists.

Homosexual love & loss – given queers insight into love’s failure and impossibilities. I see the art of losing as a particularly queer art. by Heather Love

Failure –  ‘the weapon of the weak.’ what looks like inaction, passivity, lack of resistance in terms of the practice of stalling the business of the dominant. Recognize failure as a ay of refusing to accept(without protest) to dominant logics of power and discipline , and as a form of critique.

Failure can exploit the unpredictability of ideology and its indeterminate qualities.

( I try to understand the article by referring to Vaginal Davis and his artworks.)

Queer studies as the existing alternatives to hegemonic systems. Jose Munoz discussed about queer failure, often makes queerness absolutely central to cultural narratives of failure, narratives that run alongside the mainstream.

 

Writer gives the example of Olympic games, which American audiences are not permitted to witness failures however there were a lot of failure happens behind the scene actually. Even in the photographs, there often captured the glorious part of sport, the artists Tracy Moffat suggested that she would photograph the losers rather than the winners. She mentioned that the 4th one means that you are not good enough, no place in the recorded history. ‘In order to win, someone else must failed to win.’

Quentin Crisp refers Andy Warhol as queer artist that work with failure & inhabit the darkness, and the darkness becomes a crucial part of queer aesthetic.

Darkness – failed & miserable.

He proposed that queer art has made failure its centrepiece and has cast queerness as the dark landscape of confusion, loneliness, alienation, impossibility and awkwardness.

A photograph of lesbian wearing tuxedos and posing:

1.  a failure of ideal masculinity,

2. a queer femininity that is invisible

‘possibility and disappointment often live side by side.’

Bamber’s depictation:

horizon as limit speaks to a queer temporality and a queer spatially that resist a notion of art as capable of seeing beyond and in fact makes art about limitation, about the narrowness of the future, the weightiness of the past, and the urgency of the present.

Writer using Judie Bamber’s photography and slowly link it to queer. Somehow turn the still life into something queer, into a limit. Especially the dead baby finch photograph, the death of the bird – framing it art and diminished it. She captured the things in its moment of decline/expiration, documenting not just death but the death of an illusion.

Queerness links up with the death drive: FAILURE of reproduction.

Writer also used mainstream films for children as example of idea of queer: The hero often has the character of opposite of success & prefect. For example shrek, the princess refuse to remain beautiful but chose to looks like Orge. Many characters were design in some way different and disabled, and mostly did not represent wealth, success, and perfection. Each film makes explicit the connection between queerness and this joining of the personal. These characters have become figurations of of exclusion, abjection. What is the beauty is that these films, the characters do not fear of failure, they do not favour success.

All the examples somehow remind us that There Is Something Powerful in being Wrong, Losing and Failing, if we practice it well, to bring down the winner.

 

 

CHAPTER 6: Animating Failure: Ending, Fleeing, Surviving

Writer Halberstam was disagree on some points that mentioned by Slavoj Zizek. This is one of it: Failure as a stopping point on the way to success, said Zizek.

Some of the animation makers used animation film do deliver politic issue, represent certain phenomenon such as Americans that standardised monotony of life under capitalism through Donald Duck cartoon.

Cartoon or animation is a good tools to attract viewer and easy transmit dense ideologies, I think most of the time satire the reality of this world.

The writer analysed few animations and find out the objective and the message behind these animation, for example questions of exploitation, servitude, entrapment, forced labor in the analyses of Chicken Run animation.

She also explained how the stop-motion technique was used to mark the unreal, the queer, animation opposes the natural.

Animation allows viewer to enter into other world and other formulations of this world, which somehow means to be queer in our way of thinking and imagination. Allows ourself to step out from normative.

Most animated films for children are anti humanist, anti normative, multigendered, full of wild forms of sociality.

Freud theory of uncanny was applied in this discussion.

Explaining Uncanny: “This class is frightening things would then constitute the uncanny; and it must be a matter of indifference whether what is uncanny was itself originally frightening or whether it carried some other affect…for this uncanny is in reality nothing new or alien, but something that is familiar and old fashioned in the mind and which has become alienated from it through process of repression”

Queer animated teaches us and ask us to believe in something that is not real, not normal that most people (normative people) rejected.

Queerness offers the promise of failure as a way of life, but it is up to us whether we choose to make good on that promise.

Using animation to give the moral value of what/how to live in a world created by mean, greedy and violent adults.

‘To live is to fail, to disappoint, ultimately to die.’

The queer art of failure involves the acceptance of the finite, embrace of the absorb, revel in and cleave to all of our own inevitable fantastic failure.

 

My though about failure for myself: the meaning of failure, it to find the meaning in the failure. However it is a failure but try to seek for the valuable things in that failure, which we can/might found something that surprise us.

 

Manifesto For Failure Dancing:

Break the beauty aesthetic,

Forget the techniques,

Throw away your mindset about what is dance.

Don’t dance like Alvin Alley,

Don’t choreograph movements like Pina Bausch,

Don’t even act like a dance critic.

Think dance with the brain of an animal.

 

The challenge for me is that is was hard to break and forget complete about the technique and ways of improvise movements because they are all my kinaesthetic memories. I keep try to imagine I dance like those ugly dancing that I have seen before  but I don’t think I has copy them well. It is hard to dance uglily on purpose. It is hard to dance like a failure dancer. As I mentioned in my manifesto that try to think like an animal while dancing, I tried it while I was dancing for this video recording. What I realised was that is not easy to maintain that way of thinking but I was able to do it for few times I think. My objective is to try change our ways of thinking (as human) into an animal and see how it changes our ways of moving, so that it might breaks the normative beauty aesthetic of dancing and our dance techniques.

We often have an idol while we dance or choreograph. For myself, I always wish to be a choreographer like Pina Bausch (successful choreographer) and sometimes try to follow her style in choreography. I was getting more afraid of choreographing trash after I have some good achievement as an emerging choreographer in my country, afraid of falling down/degradation. After reading the articles for these 2 submission, I try to think back some sucks choreography that I have watch before and start questioning: what if we push the lousy choreography into more lousy and ugly? what will happen? since it’s already a failed choreography, why don’t make it more worse and fail to the maximum?

 

FEEDBACK FROM LAUREN:

I think you’re doing a great job with the readings, and it seems you’re really getting something out of them, which is great to see. In response to your new videos: It seems that while you are certainly connecting with the readings in your written responses, your performance work isn’t quite working with those concepts quite yet. I wonder how you might integrate what you are responding so intelligently to in the readings into your performance work. For example, you speak about the breaking plates- what a great example. How might you utilize the affect you discovered in that performance in a new piece? I also think it might be a good idea to allow all the pieces I’ve asked you to watch to really impact your aesthetic choices. What happens if you just copy something I’ve showed you? That could be a really useful exercise for you.

In regards to the difficulty of making ‘ugly’ dancing… I completely know where you are in that struggle! I have been through this exact struggle. Here is what I’ve thought about, and what I suggest: I’ve actually decided that it is impossible to make ugly dance. Dance is the form of the body making connections, moving – it might be completely impossible for bodily connections, bodily movements, to be ugly, by its very nature (of being about connections). There is a virtuosity inherent in any kind of movement. So here is where I ask you, what else can the body do? What else does the body do? The body does more than move- explore these other options. Think about the pieces you’ve watched.

The other difficulty I think exists is the fact that dance cannot escape its abstract quality. Dance is always representative, metaphorical, descriptive – it can never actually be the thing, it can only describe it, it can only represent it. (Think back to Ridout’s distinctions between theatre and performance.) At the moment, your videos are also functioning within this paradigm- they are attempts to show failure, to represent it. How can you break out of that restriction? How can you move away from metaphor/representation/description and move towards action, task, risk, the doing?

The other problem I’ve encountered with working with dance is that, because of its abstract quality, it seems to ignore the material conditions of the body. For example, my body is young, it is white, it is ‘imperfect’ according to normative standards, it is on stage (being watched), it is female, it has breasts, a vagina– these things carry weight and carry meaning. We cannot ignore the meanings that come with our own identity, and the meanings created by placing that body on view (on stage.) How can you utilize these conditions, rather than ignore them?

I hope this is all helpful! Keep pushing it Vivan. Find the risk, find the ‘realness’, find the doing.

~Lauren xx

one more idea i had for you…

What I often do in my work is find a way to strategically undermine the virtuosic moments. For example, in How to Become a Cupcake, which you’ve watched, I do that silly dance while being sprayed with whipped cream, making it nearly impossible to stand up. In an older show, How 2 Become 1, I undermine myself in a few different ways. In one part of the show, I attempt to do a pas de deux from swan lake by myself, and i’ve also put eggs all over the floor to make it exceptionally difficult. In another part of the show, I have to follow the lead of someone doing a dance in front of me, so I don’t know it yet, but I’m also wearing stripper shoes and dancing in a pile of feathers. I wonder if it might be a good experiment for you to find a similar strategy of undermining yourself doing a pretty dance.

Performance Theatre & The Poetics of Failure

‘Nothing with which to express, nothing from which to express.’ Samuel Beckett.

Failure:

1. the evaluation judgement of an outcome – its disappointment.

2. as a constituent feature of the existential condition that makes expression possible, even as it forecloses it.

3. it bound with artistic production, ad it figure of the artist.

Failure challenges the cultural dominance of instrumental rationally and the construction that bind the way we imagine and manufacture the world.

Discourse of failure in art practice has mapped a counter-cultural space of alternative, and conventional standards of virtuosity are challenged, methods of practice re-worked.

A failure can produce unpredictable outcome.

Failure permits contribute to an anti-conformist ideology, it redefine & loosen the boundaris.

In failure, the use of miscomprehension and disorientation as compositional strategies, awkwardness as performance concept.

Failure works when it signals the breakdown of an agreed demand, in a status of ‘wrongdoing’

Post 1960s, theatre-makers shifted performance beyond the interpretive modes of playwrighting and direction. End of twentieth centre, the operations of failure created by some kinds of theatre practice, failure has provided a way to establish theatre convention and the limitations posed by theatre event.

Failure – orders a mood, it can be abstract or understood, usually indicative of one that falls short of an aim, intention or specific criteria. It often shows the infelicitous (inappropriate) outcome of a designate task or action.

J.L.Austin’s speech act theory mentioned that the unhappy or infelicitous utterance, he interrogate ‘infelicity’ foregrounds the way that intention, reception and context contribute to the complexity of reading an event as failed, as well as to its very status as failed.

Failure can be identified through scripted and non-scripted acts, the failed moment not necessarily improvised, original or unrepeatable (not always accidental) but capable to manipulation as any other outcome.

Body-based performance such as Marina Abramovic, Joseph Beuys, Franko B. and etc often explore different conceptions of limitation in the relationship to the body and the politics, produce identity, liveness, and of gaze and object hood. Their works have been described as ‘reality effects’. ‘Real time actions’, actions that take place in real time appeared almost all the body-based performances. Here there is difficulty of draw a clear distinction between an event’s real or fictional status. In other words, functional failure and reality-effect overlap here, because it is hard to mark the success or failure in the performances.

‘unexpected occurrences can make your failure into a bigger success.’

There is a range of modalities of technique and methods of inventing failure to achieve a different end, such as the repetitive structure of the attempt, examining impossibility, the use of miscomprehension and disorientation as compositional strategies, and awkwardness as performance concept.

I personally think that to fail is also break our own limitations. Instead of breaking our ‘positive’ limitation such as to work harder to achieve a goal that people feel proud of, we break our ‘negative’ limitation of failure, work very hard to think and create a failure which it is seldom happen in our life. We always think of making success and so afraid of failing because we might feel embarrass.

From what I observed by watching the videos that has been given, I realise that all of them have a strong theatre/dramatic elements. Therefore, I come out with a question:

It is most of the failure performances contain dramatic act?

 

Stage Fright, Animals, and Other Theatrical Problems by Nicholas Ridout

This book looks at the experience in the modern theatre, which is the confusion of compulsion (the action of forced or being forced to do something) and disappointment.

Theatre Failure: There is an expectation in the audience when they go to a theatre and watch a performance, but sometimes we find theatre uncomfortable, compromised, boring, conventional, bourgeois, overpriced and unsatisfactory.

Here, the writer stated that the term theatrically as a negative term in the understanding of some post-modern art practices.

‘I can’t name my practice, but I know it is not theatre.’

‘Antitheatricality’ in most of performance art, insistence of Presentation of Realness. Somehow I think that theatrical refers to fake, unreal, representing real, which most of the performance artists try to avoid that. Writer also stated that artists are afraid of resembling theatre is because of the anxiety over mimesis (imitation).

What I think, artists are afraid of their work contains theatrical the reason might be that they feel this consider as failure of their artwork. This could be one of the reason that most of the failure performances were in theatrical form.

 

Performing To Fail: Perspectives On Failure In Performance And Philosphy by Cormac Power

The writer mentioned that Performance itself is the enactment of Failure. Founder members of Forced Entertainment and Goat Ialand pointed to the importance of failure / consideration of failure can be a key way while they generate work.

In this article, writer focused on the important and distinctive attributes of failure in performance, looking at the positive value of failure in performance work. However failure usually produce negative sense which is recognisable. Writer mentioned that some performance work is concerned with its own failure, and from there he raise the questions about contemporary performance aesthetics and spectatorship.

Performances are evaluated in terms of success, but the possibility of failure and the actuality of failing are fundamental to how performance is often defined and valued. It can say the the failure or something going awry give a live performance its intensity and excitement.

A very good example from my own experience:

For my Diploma in Dance program, we have to perform Plate Dance. The plate is made of glass and we need to hold one in each palm and dance. During the performance, I realised that the audiences became so excited when there was someone dropped his plate and the plate broke. It is clear that his failure has created excitement for the audience. In this performance, the possibility of failure often surrounds it and the way it is experienced.

 

Manifesto of Failure:

Failure has become part of our life,
It is normal to fail in everyday life.
But, In order to fail completely,
You need to have guts to accept it.

I am trying to make a good manifesto,
But…I know,
Even this manifesto is a failure.

 

My thought:

I am still new and try to find out what exactly is failure in performance art.

Many questions appeared in my mind about failure, such as how people define a show as failure performance and what is the requirement to make a failure performance, and what exactly is failure.

i tried to create these two video of failure. What I thought about the failure was that they both look quite stupid, not normal, pointless, but yet I personally feel they are quite fun to watch. I got this idea because since I am on my vacation in Inverness, I thought it will be great to use what they have here, obviously the beautiful sceneries and the animals that they have here.

I was trying to create the contrast between the beauty of the nature and my awkward actions, and see what is the meaning behind these two video. When I was doing the second video, I have a thought. What the cow was thinking when it sees me doing some action near to it?? Will it thinks that I am stupid and weird like human think??

These two videos were my first try to create failure, but to be honest, I am not sure whether these can be considered as failure?? Or I just try to make failure yet I was failed to create failure. If it is, then they are failure too.