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Pfifferdaj_Fête des fifres à Bischwiller (67)
spectacle nocturne GALILEO par la Compagnie DEUS EX MACHINA un soir de nuit des étoiles.
Pfifferdaj, Party fifes in Bischwiller (67)
night show "Galileo" by the Company DEUS EX MACHINA a night of star evening.
diner croisière DISCO RIVER
descriptif spectacle : www.disco-river.com
production : www.spectaclesdeparis.com
Spectacle intimiste "j'ai été un enfant" sur les ecrits de Albert Cohen ; récits d'un enfant juif, de sa mere, sa famille, son insoucience.
Watching 'Creating the Spectacle!' by Sue Austin, an installation for the 2012 Cultural Olympiad in the Clore Ballroom, Royal Festival Hall.
'Creating the Spectacle!' is a ground-breaking series of performances of an underwater wheelchair that leaves traces of its joy and freedom as it flies along through the water with its human occupant.
This surprising and unexpected juxtaposition is proving to be a powerful vehicle for transforming preconceptions about the wheelchair in the mind of the viewer as they then become part of the artwork too.
Conceived by Artistic Director Sue Austin and produced through Freewheeling, 'Creating the Spectacle!' aims to generate a widespread public debate about the nature and value of contemporary arts practice shaped by the experience of disability.
[wearefreewheeling.org.uk/?location_id=1667]
Part of Unlimited, 29 art and cultural commissions by deaf and disabled artists; spanning dance, art, music, theatre and international collaborations.
Aujourd'hui au village, c'est le repas des "Aînés" comme ils disent pudiquement pour parler des "Vieux".....
Et qu'est-ce qu'on met aux "Seniors" comme spectacle ? Du cabaret !
Je ne vais pas faire la fine bouche, c'était pas mal.......
Ustroń is structured less by a single object than by the valley itself — a long, open fold between forested slopes where water, movement, and settlement align almost instinctively. The Wisła River runs through the town not as a spectacle, but as a quiet constant, loosely organising paths, buildings, and daily rhythms. It is not monumentalised; it is accompanied. The town grows alongside it, adjusting gently to changes in width, speed, and season.
The surrounding mountains define Ustroń’s spatial logic more strongly than its architecture. Slopes rise quickly from the valley floor, compressing the town into a linear form that feels both contained and open. Forest edges are never far away. Views are directional rather than panoramic, framed by ridgelines that shift as one moves through the town. Orientation here is bodily and intuitive — uphill, downhill, toward water, toward trees.
Unlike resort towns shaped by display, Ustroń’s relationship with landscape is practical and therapeutic. Paths, parks, and clearings are designed for walking, breathing, and gradual movement rather than spectacle. The town’s spa heritage reinforces this rhythm: time is slowed, measured in steps, inclines, and pauses. The environment invites participation rather than observation — hiking, cycling, sitting by the riverbank, entering the forest.
Seasonality is deeply legible. Summer brings openness and softness: riverbanks are occupied, paths are active, cafés spill lightly into outdoor space. Autumn sharpens the landscape, colour replacing density as the primary register. Winter simplifies everything — slopes darken, movement thins, and the town becomes quieter, more inward. Each season redraws Ustroń without altering its underlying structure.
Ustroń does not assert itself as an image. There is no singular centre, no iconic gesture that demands attention. Its coherence lies in continuity — between water and land, town and mountain, movement and rest. It is a place where the landscape does most of the work, and the town’s success comes from knowing when not to interfere.