WHAT DO YOU CHOREOGRAPH
AT THE END OF THE WORLD ?
3 lectures and more

[Editor’s note: this is part one of a three part paper. 2 choreography as an aesthetics of change . 3 social dreaming/social choreography]

A DREAM
Last night, in sleep I took part in a profound and massive demonstration against humanity, against the insanity and intrinsic contradictions in individuals and within society as a whole. I was amongst a throng of tens of thousands of people gathered, each holding a candle in their hand. The sense of absolute urgency was made most noticeable by a deathly__ and wordless silence. __No one had any idea what to do, what to say, or what action to take. Finally, for no apparent reason a few scattered individuals started to raise their candles ever so slightly. Soon everyone followed.
“Look”, I whispered to my girlfriend, “They are finally doing something!!!
Michael Klien 12.02.07

A POEM
These nymphs, I wish to perpetuate them.(1)
Stephane Mallarme, Improvisation of a Faun

A CALCULATION
Since curvature describes gravitation, we might say that as we approach the singularity, the gravitational interaction will grow to infinity. Neither space nor time retain the form we are accustomed to.
Harald Fritsch, The Curvature of Spacetime: Newton, Einstein and Gravitation

1
DANCE AS A METAPHOR FOR THOUGHT

EMERGENCE BECOMES VISIBLE
WHEN THE OUTLINE OF THE PATTERN
CAN BE SEEN.

STEVE VALK: While doing research on the island of Bali in the 1930’s the anthropologists Margaret Mead and Gregory Bateson made a film of the “Barong” a 6 hour-long dance / theater ritual in which an entire village participates.(2) This ceremonial “play” is performed only when there is a crisis or deep disharmony, when there has been no rain, or when the dead are seen walking through the village at night. The costumes for this dramatic performance are lavish, the various roles meticulously rehearsed and the choreographies are precise and taught to children at an early age. What made a deep impression on me in this film, was that suddenly, in the middle of the performance, the young male dancers started going into trance – they fell over and shook violently. This “psychosis” then seemed to spread like a wildfire overtaking almost all the other performers and even a few audience members. Some male dancers, took their knives and were tried to stab themselves. Audience members were compelled to jump on top of them in order to prevent them and others from injury. At this point in the film, the narrator explains that this state of chaos, of anarchy, is precisely what the performance of the Barong is hoped to induce. The ceremonial enactment of the Barong Drama is all in preparation for this moment, the moment of its own disruption and collapse. For anyone familiar with western theatrical tradition, this is an astounding state of affairs. The film’s narrator, goes on to explain that it is in this state of emotional and situational conflagration, that “the Gods have arrived”. In the midst of the mayhem, this outburst of chaos, the village priest or shaman, sets up his ceremonial apparatus and begins to commune with the Gods, to burn offerings, to address the village troubles.

INDIGENOUS PSYCHOLOGIES OF THE SELF

Cultures that emphasize firm boundaries and high personal control tend to view the self as exclusionary or “self-contained”. Fluid boundary, strong field-control cultures view the self as “ensembled”, meaning that the self is inclusive of other individuals.
(reading from E. Martin Walker’s essay Experiences in Social Dreaming, p.218)

MICHAEL KLIEN: What I would say about the Balinese dance ceremony is that “a psychic structure” would seem to be the prime mover of the piece and that the bodies themselves are not discreet units but they are “caught up in” another kind of structuring process. Of course these bodies correspond or overlap with what we would call “individual selves”, but during the course of the ceremony, these “bodies” are drawn into a different organizing pattern or constellation. The unknowing participants become enmeshed in a wider communicational field or “psychic structure”.

STRANGE CURRENTS OF A SITUATION

On the subject of mind / body relations, the anthropologist Gregory Bateson has a profound and revolutionary theory. He describes six formative steps, that I won’t go into at this point, that lead to the creation of what he calls “Mind”.(3) Mind according to Bateson’s understanding, is a certain constellation of a system that is able to retain information. Therefore, a Mind could consist of non-living elements, like a traffic system, or be composed of many organisms, like a school of fish.
It may function for brief, as well as extended periods of time and is not necessarily defined by a fixed or firm boundary like skin. If a Mind should have consciousness, then this consciousness is always only partial. Bradford Keeney, a psychologist and admirer of Bateson, has called the mind a ‘conver-sational pattern’ and bodies “the participants in the conversation.”(4) Each of these kinds of “bodies” also functions as a Mind, in the Batesonion sense, and is engaged in larger conversational patterns with other bodies, which in turn, constitute larger aggregates of Mind.

NON-SYMETRIC STATES OF STABLE EQUILIBRIUM

STEVE VALK: So one cannot escape the fact, that at least in systems-theoretical terms, there is not a “clear” distinction between mind and body. Across many fields, multiple levels of interaction are linked. The formal, highly-ritualized Balinese performance reaches a “critical state” at which point a kind of rupture of the symbolic order takes place. At the point where the “the Gods arrive” there is a radical almost brutal moment of perceptual re-patterning. Bateson associates this phenomenon with something he calls “kinesthetic socialization” a means by which individuals are prepared for altered states of consciousness, for a “temporary escape from the ego-organized world” as he calls it.(5) The Balinese ritual performance could be seen then as an enactment of Bateson`s principle of Mind, an example of the organism “village” and its capacity to process and respond to information in a self-corrective way. After the chaos, the psychic hurricane, a recalibrated, possibly “rejuvenated”, pscho-social configuration emerges.

In the science of morphology, physico-chemical processes are detected and analysed. Their ultimate origin and the relationship of all such separate processes are, according to assumption, buried in unfathomable complexity. Thus, organic life is conceived of as a set of centers where the coordination of causal chains is totally lost in complexity. These active centers are what we call organisms. Now this assumption makes for a radical difference from an idea that has always been successful in inorganic science. It is that complex systems can be successfully studied by breaking them down into simples which are easier to analyse. Such a scheme was first described by Descartes in 1637 and is known as the “Cartesian Method”. If we accept the concept of an organism as just stated (vague as it still is), we can say that “biology is a non-Cartesian science”. Since theoretical parts of all past natural science have been Cartesian in this sense we may conclude that biology is fundamentally and qualitatively different from physical science.
(from Walter M. Elsasser’s book Reflections on a Theory of Organisms)

MICHAEL KLIEN: I have always had a sense that a thought is a physical act and I have always been discontent with people in the dance world who want to get over the Cartesian split by just talking about the body. This is a bizarre notion. You propagate the same idea, just from the other side. You actually widen the gap. How can you only talk about the body when you want to address the whole thing. Conversational patterns are thoughts, they are not just up there. (points to his head) “Thought” is everywhere. Thoughts are between us “ephemeral but real”, as we spoke about in our Book of Recommendations. For things to come into being it is a matter of thought.

STEVE VALK: Like this plastic water bottle I am holding… this is a ‘thought object’. With a sculptural aesthetic, computerized bar codes, with a position in recycling systems. Theoretically, it could be blessed and used as container for holy water etc…

MICHAEL KLIEN: Gregory Bateson is one of the founders of this kind of thinking. In the 60’s he was part of an LSD experiment. During the testing he was shown a rose and his comment was, “It is amazing how much thought went into this rose for it to become a rose.”(6) We are closing in on our theme right now, what we mean by “Dance as a Metaphor for Thought”. We are not saying that ‘thought is dance”, but we are talking about a certain figure or “vision of dance”, whereby the constellations are loose enough to actually reach a state of excitement or play without falling apart, without losing identity. A system such as a society or a state can be dancing, unlike our present-day situation, where the structures are too tightly constrained by what the visionary architect Frederick Kiesler calls “the dogmatic slumber of reductionist thinking”. In his book “The Man Without Qualities”, Robert Musil describes how a state can be in flux. Kakania is a place where things become possible and great ideas are born, where priceless, timeless artefacts are realized, because the conditions are right for the whole system, which in this case is a state, to dance. So the notion of dance has to be applied to all systems rather than applying it exclusively to the physical body.

STEVE VALK:

Why does dance dawn on Nietzsche as a compulsory metaphor for thought? It is because dance is what opposes itself to Nietzsche’s great enemy, an enemy he designates as the “Spirit of Gravity”. Dance is, first and foremost, the image of thought subtracted from every spirit of heaviness.
(reading from Alain Badiou’s book The Handbook of Inaesthetics, p.57)

MICHAEL KLIEN: In western societies dance has developed along the lines of what Nietzsche maintains is the opposite of dance, what he calls “obedience and long legs”.(7) For Nietzsche, dance is about a lightness which opposes itself to the “Spirit of Gravity” which he associates with the military parade, “obedience and long legs” etc… Strangely enough, when one looks at the development of western dance in the 20th century, one sees primarily that, “obedience and long legs”. One sees the dancing body subjected to choreography. For some reason a kind of perversion has taken place. People have tried to construct performative architectures to attain a state of dance, whether it be Martha Graham or 20th century ballet technique. But along the way, the map has been mistaken for the territory, the architecture for the experience. Maybe that’s where it has all gone wrong. The structures are not the dance, they are merely the perceptual orientations for getting there. In ballet for instance, the subjective range of movement is very limited, so only the best people can actually attain a state of dance. Most performers are simply executing movement within precisely defined limitations.

A PERSISTANCE

Dance is a metaphor for thought precisely inasmuch as it indicates, by means of the body, that a thought, in the form of its evental surge, is subtracted from every pre-existence of knowledge. How does dance point to this subtraction? Precisely in the manner that the ‘true’ dancer must never appear to ‘know’ the dance she dances. Her knowledge (which is technical, immense, and painfully acquired) is traversed, as null, by the pure emergence of her gesture. ‘The dancer does not dance’ means that what one sees is at no point the realization of a pre-existing knowledge, even though knowledge is, through and through, its matter or support. The dancer is the miraculous forgetting of her own knowledge of dance.
(reading from Alain Badiou’s book The Handbook of Inaesthetics, p.66)

STEVE VALK: I would like to go back to the story of the Balinese dance / theatre which only realize its aims when everything falls apart… to look at the certain vision of dance we have been describing… this notion of a void, of everything falling apart. On the plane ride over here, I read and article in Time Magazine about the Irish rock band U2. Their manager was describing the torturous creative process the group goes through whenever they are at work on a new album. “For them to come up with a great song,” the manager said, “God has to walk through the room”. This is the point for me, in regards to the notion of “Dance as a Metaphor for Thought”, where we reach a kind of event horizon, this place where things fall apart, when “the gods arrive” or “when God walks through the room” etc… At this point, there emerges for me a deeper awareness of the certain “vision of dance” we have been talking about. Not of dance thought on its own terms, on the basis of its history and technique, but of dance “as it is given shelter by philosophy”, in other words, by the wider fields of human understanding.

DECOHERENCE AND ITS IMPLICATIONS IN QUANTUM COMPUTATION

By contrast, classical theories, as understood here, consider their primary object of investigation as, at least in principle (it may not be possible in practice), available to conceptualization and, often, to direct or, at least sufficiently approximate, representation by means of such theories – in short, as knowable.

This is “the knowable “ of my title. Classical thinking does not deny that there are things that are, in practice or even in principle, beyond theory or any knowledge. In contrast to non-classical theories, however, classical theories are not concerned with the irreducibly unknowable or its effects upon the knowable. The irreducibly unknowable, if allowed is placed strictly outside their limits, rather than is seen, as it would be in non-classical theories, as a constitutive part of knowledge.

Thus, most classical physics, such as classical, Newtonian mechanics, can be and customarily is seen as classical theory in this sense, in contrast to quantum mechanics in Bohr’s or other non-classical interpretations.
(from Arkady Plotnitskys book The Knowable and the Unknowable: Modern Non-Classical Thought and the “Two Cultures”)

PERSONAL THRESHHOLD EXPERIENCE

I remember a performance of “As a Garden In A Setting” in Paris where Jone San Martin was dancing in her first piece for Ballet Frankfurt. That evening, I witnessed one of the best dance performances I have ever seen. It was stupendous, raw and brilliantly danced by everyone. There really was a feeling of all the performers on stage being in a kind of trance. At one point though, I noticed that Jone seemed to slip and fall flat on her back. She got up immediately and continued dancing. After the show, I went backstage and found her embarrassed and upset about having fallen. She could not explain what happened… just that in the middle of the duet… she had looked at her partner and had been overcome by the feeling that if she were to suddenly throw herself backwards, he would be there to catch her. This is what she did and unfortunately for her all that was there was the hard wooden stage floor.

MICHAEL KLIEN: A STATEMENT

Dance allows the thought body to show itself, it is the showing of the body in thought, independent of what constitutes such a body, whether its bounderies are made of skin or by constitutions played out in laws. Dance is the forming of certain configurations of thought, expressed in manifold ways by the birth of ideas or the shivering body. That is why evolution, animals and states are said to be dancing at times, because certain conditions are met allowing a system to be flexible and its emerging dancing body to be naked, anonymous and selfless. This is what constitutes dance. Hence dance is a matter of thought pointing towards the possibility of change as inscribed in the body. For the spectator to perceive dance, it is an exercise in trust, demanding the audience’s absolute gaze, oblivious to representational decor and fully focused on the underlying nakedness of a flexible body in thought.

Our civilization has been turning dance into a perversion of itself, applying to and onto it, everything that will prohibit its existence in the form of predetermined rigid time, space and action. It might be a symptomatic need to resist mortality´s grip. Maybe the reasons are to be found in the dominant muddle of language, which in Bateson´s words ”stops us from thinking straight” and from dancing in general.(8) To govern dance is in itself a misleading conception, a seemingly vain attempt to fence off its mortal nature, putting shakles on what cannot be tamed without turning it into an empty shell, a sign pointing towards something other than what it is. To choreograph dance conventionally which sets movement into stone, is a self-deluding act… a brand of misguided creativity. Dance is Dance and cannot be tampered with, just as Bateson reminds us that “God cannot be mocked.”(9) Dance has been crippled by conventional choreography for centuries. It is time to release choreography’s hold on dance and let it simply be.

PARALLEL PROCESS : The Seeing of Sleep

I believe thought must take a step back. A step toward what Mallarme and the pre-Islamic ode have in common, to wit : the desert, the ocean, the bare place, the void. We must recompose, for our time, a thinking of truth that would be articulated onto the void without passing through the figure of the master: Neither through the master sacrificed nor through the master invoked.
(reading from Alain Badiou’s book The Handbook of Inaesthetics)

STEVE VALK: When I present the results of dramaturgical research for original dance or theater work, it almost always involves the creation of a kind of presentational container, a perceptual aesthetic space for these ideas. Rooms are hung from floor to ceiling with photocopies, texts and drawings; strewn and overgrown with cut-out figures, writings etc…, these spaces or “thought jungles “ are criss-crossed and hung with found objects. To engage with the material, with this research, it is necessary to weed and wander through: to walk, duck, spy, sometimes to hunt. Embedded in this complex matrix of associations, you may find objects or ideas of interest or they may find you. There is a term in psychology and anthropology called “total field awareness” which accurately describes the sensibility or quality of perception that is evoked in this kind of transitional space between dramaturgical research and dance or performance creation.

THE COMMUNICATION OF MEANINGFUL VISION

Sleep is compact fidelity, tenacity and continuity. This last fidelity is the very act of the subject as it has now become. It is “of words vacant” because it no longer needs to experiment with hypotheses. And it posseses a “body grown heavier” because it no longer has any need for the agitation of desire… The subject of poetic truth is neither soul nor body, neither language nor desire. It is both act and place, an anonymous obstinacy that finds its metaphor in sleep.
(reading from Alain Badiou’s book The Handbook of Inaesthetics)

A second important quality or characteristic of these dramaturgical thought-spaces involves the particular “awareness” with which the materials are gathered and selected. The starting point and guiding sensibility for research of this kind, for the assembling of material and the creation of the perceptual space of its presentation, is rooted in a profound and seemingly paradoxical sense of “not-knowing”. It is difficult to describe how primary, how rudimentary, this underlying quality of “undecidability” is for the process of exploration and research production. There is a kind of “elusive awarensss”, or “strange understanding” in my experience, which guides the process of conceptual work on new dance, theater or opera creation.

THE ANONYMOUS I

Badiou equates this “not-knowing” with “a subject of poetic truth”, “an anonymous obstinacy that finds its metaphor in sleep”. In a recent interview, William Forsythe, with whom I collaborated for twelve years, referred to the Buddhist concept of “no-mind” having an important place in his work.(10) Dramaturgical process which emanates from this undecided state of consciousness produces a perceptual terrain, an interactive, unfolding field of thought where engagement itself becomes a dance of meaning creation.

STEVE VALK: The notion of the void, of nothing, “of the nakedness of concepts”, smacking your body on the floor, etc…, this sense of dance has been the underlying and defining current of my work and why I have repeatedly been drawn into the vicinity of this art form.

MICHAEL KLIEN: Maybe it is because dance is always pointing towards the possibility of change… towards the unknown, “silently rewriting your vision”, as Badiou says.(11) It never lets you get comfortable.

The sensitivity to dance possessed by each and everyone of us comes from the fact that dance answers, after its own fashion, Spinoza’s question: What is a body capable of ? It is capable of art, that is, it can be exhibited as native thought. How can we name this emotion that seizes us at this point?…. I will name this emotion… an exact vertigo.
(reading from Alain Badiou’s book The Handbook of Inaesthetics, p.70)

THE TWILIGHT ZONE THAT SURROUNDS THE HYPOTHETICAL UNFATHOMABLE CENTER OF LIVING ORGANISMS

The principle of “incompleteness” gives Batesonian holism its real power, turning what is a weakness in conventional science into a source of strength. It says, in a nutshell, that mind is not Mind, nor, in principle, can it ever be so. It argues that by definition, tacit knowing can never be rationally expressed. But we can recognize its existence, we can work with it in our attempt to know the world, and in fact we must do so because circuitry, in the cybernetic sense, is the way reality is structured.
(quote from Rodney Donaldson, A Sacred Unity: Further Steps to an Ecology of Mind)

MICHAEL KLIEN: There is an illusive and mysterious quality or resonance which dance seems to manifest which seems to play an acitve role in the creation and maintenance of living systems such as a Balinese village or an arts organization in Limerick. After a few days at Daghdha I begin to feel the continual presence of the dancing that happens there, like an invisible fabric that touches and envelopes everyone and everything we do. Nietzsche said that dance could be “a new name given to the earth”.(12) For the French philosopher, Alain Badiou it is the embodiment of the principle of “an exact vertigo”. This state between finite and infinite, place and non-place, integration and disintegration seems to be an elemental, regenerative i.e. “healthy” mode of being in the world.

STEVE VALK: Daghdha Dance Company has tried to cultivate something like a new ecology of the arts: to see a cultural institution, like a dance company, as the locus and initiator of living processes which begin within the company itself, its internal workings, its everyday life etc… and then extend into the relationships with its own immediate and not so immediate surroundings. The “vision of dance” we have been referring to in this discussion and the role that “dancing” and “the dance” play at Daghdha is one of a constituting principle. Dance within the ecology of Daghda is an active power which generates an undercurrent of corporeal and environmental interconnectivity. It instills a rich and multi-leveled awareness which informs and challenges both the company’s everyday affairs and its engagement with its own emerging future.

NOTES
1) quoted in Badiou, Handbook of Inaesthetics, p. 123
2) Bateson, G. & Mead, M., (1952) Trance and Dance in Bali, 22min film
3) Bateson, Mind and Nature, p. 86
4) Keeney, Circular Epistemology and the Bushman Shamans, p.80
5) Donaldson, A Sacred Unity: Further Steps to an Ecology of Mind.
6) Bateson, Mind and Nature, p. 86
7) Badiou, A., (2005) Handbook of Inaesthetics, Stanford California: Stanford University Press, p. 59
8) Bateson, Esalon Audio Lectures: On Epistemology
9) Bateson, Angels Fear, p. 89
10) Forsythe, Interview, BBC Radio
11) Badiou, Handbook of Inaesthetics, p. 66
12) Badiou, Handbook of Inaesthetics, p. 70

BIBLIOGRAPHY
Alexander, C., (1977), A Pattern Language, New York: Oxford University Press
Anttila, E., (2003) A Dream Journey to the Unknown: Searching for Dialogue in Dance Education, Helsinki: Theatre Academy
Ashby, R., (1957) An Introduction to Cybernetics, London: Chapman & Hall
Badiou, A., (2005) Handbook of Inaesthetics, Stanford California: Stanford University Press
Badiou, A., (2003) After the Event: Rationality and the Politics of Invention, Essex: University of Essex Press
Bateson, G., http://www.global-vision.org/bateson.html, accessed 3/2007
Bateson, G. & Mead, M., (1952) Trance and Dance in Bali, 22min film
Bateson, G., (1997) About Bateson, New York: E.P. Dutton
Bateson, G., (2000) Steps to an Ecology of Mind, London: The University of Chicago Press, Ltd,
(2002) Mind and Nature, Hampton PR,
Bateson, G. & Bateson, M.C., (1988) Angels Fear, New York: Bantam Books
Baudrillard, J., (1994) Simulacra and Simulation, University of Michigan Press
Beuys, J., (2004) What is Art?, Forest Row: Claireview Books
Butcher, R., (1992), What is Dance?, Dance Now, vol.1, no. 2
Donaldson, R., (1991) A Sacred Unity: Further Steps to an Ecology of Mind__, New York: Macmillan
Elsasser, W., (1987) Reflections on a Theory of Organisms, Baltimore: Johns Hopkins University Press
Cilliers, P., (1998) Complexity and Postmodernism, London: Routledge
Coomaraswamy, A., (1934) The Transformation of Nature in Art, Cambridge: Harvard University Press
Deleuze, G. & Guattari, F., (1988) A Thousand Plateaus, London: Athlone Press
Driver, (ed), (2000) William Forsythe (Choreography and Dance Studies), Harwood Publishers
Eco, U., (1989) The Open Work, Cambridge: Harvard University Press
Ellfeldt, L., (1974) A Primer for Choreographers: An Introduction to Modern Dance Composition, London: Dance Books
Forsythe, W., (2000) Improvisation Technologies, Book and CD-ROM edition, Ostfildern: Hatje Cantz Publishers
Forsythe, W., (2003) http://www.ballet.co.uk, Interview, BBC Radio, accessed 3/ 2007
Goffmann, E. (1974) Frame Analysis, New Yor: Harper&Row
Harries-Jones, P. (1995) A Recursive Vision, Toronto: University of Toronto Press Incorporated
Hejl, P.M., (1992) Konstruktion der sozialen Konstruktion, Die erfundene Wirklichkeit, Muenchen: Piper Verlag
Hillman, J., Ventura M., (1992) We’ve Had A Hundred Years of Psychotherapy…., New York: Harper Collins
Hoffmeyer, J., (1996) Signs of Meaning in the Universe, Indiana: Indiana University Press
Holland, J.H, (1998) Emergence, Oxford University Press
Keeney, B., (1983) Aesthetics of Change, New York: Guildford Press
Keeney, B., (2005) Circular Epistemology and the Bushman Shamans, Cybernetics & Human Knowing, Volume 12,
Kiesler, F., (2001) Endless Space, Germany: Hatje Cantz Verlag
Kostelanetz, R. (1998) Merce Cunningham: Dancing in Space and Time, New York: Da Capo
Lakoff, G. & Johnson, M., (1999) Philosophy in the Flesh, New York: Basic Books
Lawrence. G., (2003) Experiences in Social Dreaming, London: H. Karnac Books Ltd.
Luhmann, N., (2000) Art as a social system, Stanford University Press
Lycouris, S., (1996) Destabilising Dancing: Tensions Between the Theory and Practice of Improvisational Performance. Ph.D. thesis, University of Surrey
Maturana, H.R. & Valera, F., (1975) Autopoetic Systems, Biological Computer Lab., Report No. 9.4, Urbana: Univ. of Illinois McLuhan M., Powers B., (1966) The Global Village: Transformations in World, Life and Media in the 21st Century, Oxford University Press,
Monni, K., (2006) About the Sense and Meaning in Dance (unpublished) Helsinki: Zodiak Center for New Dance
Plant, S., (1996) The Most Radical Gesture, New York: Routledge Press
Rhodes, C., (2000) Outsider Art: Spontaneous Alternatives, New York: Thames and Hudson
Russel, B., (2000) History of Western Philosophy, London: Routledge
Senge, P., Flowers B., Scharmer, O., Jaworski, J., (2005) Presence: Exploring Profound Change in People, Organizations and Society, Great Britain: Nicholas Brealey Publishing
Stevens, J., (1987) Storming Heaven: LSD and the American Experience, New York: Grove Press
Steward, I. & Cohen, J., (1999) Figments of Reality, Cambridge: Cambridge University Press
Waldrop ,M., (1994) Complexity, UK: Penguin Books
Watzlawick, Weakland, Fish (1974) Change, London: W.W.Norton & Company, Inc.
Weisstein, Eric W. “Recursion.” From MathWorld—A Wolfram Web Resource. http://mathworld.wolfram.com/Recursion.html