Circus of the Far Senses

The game remains open.  When both of our remote senses face one another in the Circus arena, it is never definite whether this confrontation will evolve into a friendly interaction or will more closely resemble a test of strength.  The program spans from the opening dance, across the competition between the quicker and better, through to the warrior's battle of life and death.

Naturally, circus also means to stage.  Progressing over stone arcades, we slowly step into the world of the show.  We have left the realm of the "everyday aesthetic" behind in order to completely dive into the completed ring of terraces and sandy circle.
What we experience here is more than just a spectacle.  Here we experience a theatrical dance along borders.  We have left the normal life behind so that we can rediscover the unordinary within us.  We plunge into an oasis of the extraordinary, a completed circle that appears to exist outside of the realm of public order.  Here, ethical and aesthetic boundaries are consciously allowed to fall to the wayside.  This atmosphere enables us to directly experience various stimulants with more freedom and less restraint.  Here, the arena becomes a realm for experimentation, offering the chance to have an unencumbered view of the "happening."  The circus lets us participate, not only in a spectacle, but also in an experiment.

Thus, the protagonist of this circus shifts continually between the active role of performer and the passive role of experiment.  The visual and audible senses are not confronted with everyday stimulants.  Instead, they are coaxed with a menagerie of sight and sound, creating the desire to sense.  This manipulation of the senses is diverse and deeply effects their nature.  The limitations associated with the senses become clear when one attempts to have one play the role of the other.  Through this, the masquerade becomes the core exhibition.  This dance of the senses, however, means fewer of them actually exist within the circle.  Instead, more ways of conception and perception exist within our range of awareness.  This means feelings and theories we project as sensory phenomena are in fact being tested.  All at once, we are required to choose between what we believe to be true and what we had once considered real.

But, the circus is not an academic realm.  It cannot concern itself with fathoming the essence of our senses.  Rather, it is much more a play upon alleged reasons and their origins, without the abandonment of ridicule.  The circle is best understood as a kaleidoscope of the visual and audible - that which continually reveals itself in new colors and forms.