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2) Yaari on Isabel (reply Sebastian)

The density you've put our bodies in was a moment of tension between suffering and pleasure. a cis-archaeological-corporeal-structure.
(I liked to feel I trust you, your proposal, and the others present)
since you defined the task as an act which will help you to articulate a question…I would be interested to know why did you feel our bodies need to attain this physical contact of tightness and compression in order to 'accept' the material you offered? what was there is the two-layers-landscape that created the best state of receiving?

Remembering your „solo“ on the table yesterday, I have many questions. Two most prominent ones are as follows:

1) were you part of the audience, so us, during the „table dance“?

(I found it a nice setting you chose - a bit elevated, in the midst of us, where a strip tease could take place, but instead of luring us into the escalating excitement and anticipation of the end, you have seduced us/me into cycles that kept bringing me back to the same spot. That enabled me to see you doing as well as performing)

2) through what other practical ways could you immerse yourself into the audience, while still performing something - I don´t want to say observe yourself performing, because I´d say the two are different - (a performer becoming part of the audience but still available as a performer, or performing the split I am mentioning)

I should say that I really like your performance and the text. They fully work together and complete each other.

You text amazingly takes me back and forth in time. From memory to contingency, from nostalgia to the uncertainty of future, from childhood to maturity...

What impressed me a lot was that in chapter three which abstractly illustrates future in front of my eyes, you create a poetic world wrapped in fantasy. The world you are waiting for is a mysterious one in which magic is possible. Thus, you beautifully transform the fear to hope and desire by passing through consciousness.

I doubt if I have any question around the text but as a clue for Lili ' reply I want to discuss this: if the body can make a bridge between memory and future!

The body is a bridge

We were mingled and at the end of our individual arms each of us held a cray. Underneath the cray there was a paper, a black paper. We couldn`t see well. We functioned as a blind octopus, gesticulating our tentacles on the flat surface, engaged in discovering the possibilities of that moment.

What kind of imaginary that situation brought to you? And what kind of politics you think it generates?

In your performance not only gesture but also sound was very important. When we sounded our book's names (in both cases) there was an intersection and we created something new: noise. But in the first part noise was a cumulative fragmented information - we couldn't get and weren't supposed to get each other's book's names - and in the second part it was the thing, our thing - the book.

noise, in music, uses "non-musical" sounds as well as mechanisms of distortions, feedback, manipulation, duration, residues... What could you say is the role of noise in your work, and even, more specific, in the creation of a character?

15)Lili > Christian > Arianna

While experiencing you performance this question came to mind: How is it ever possible be intimate when you constantly have to (reach the surface to) breath?

16) Varinia asks Aela and Robin replies

In an exercise of trying to think in a science fiction mode, i.e in regard to what the future has in store for us, concerning the question of subjectivity v.s objectivity: if the notion of accessing ourselves - as specific and particular human beings that are aware of an interiority - is still a possible one, how would that be after the engineering of a brain that matches sense and form in such a way in which subjectivity is completely aligned with objectivity, giving end to subjectivity ?

Robin Replies with the movie Transnistria

https://youtu.be/IrqCsMiS8VE

17) Juan about Gerald reply Varinia

My question is an image....

Dear Robin,

I really appreciated the sound-experience I had with your proposition. After a while I was really affected by the task you gave us. It was as if the space and the cup had become one, making me doubt if reality had shifted... I checked and it hadn't. :) Then, the voice of my partner became focused on the back of my head, and I could hear the position of the source of the voice (the mouth) quite clearly because of the cup. Usually sound is more spread out... but this time it seemed to stay in one point. I could hear the sentence: "Soy el punto negro que anda/A las orillas de la suerte" (I am the black point that walks the shores of chance). Esteban's voice was focused in one point in space and talked about a black point... coincidence... ?... I felt like reality had shifted. I was left with an enigma: What is the black point that walks the shores of chance?

Hugs,

Thank you for sending me the text again! Listening at it once was definitively not enough. It’s nothing linear. I needed to listen it in layers, line by line, dive vertically into it and open the cracks in personal labyrinth this text. Each sentence seems to sediment over the next and covers it’s meaning with a new world. There is - in fact - a confusing distance between each sentence and I’m due to find my world to bridge between them.

In your text, territories belong to a time - or timeless - dimension. Somewhere out of time and time in itself. But not only this, territories seem - by being wrapped in a time - to belong to an emotional dimension - a dimension of which I’m filled. And not only that, territories are moving elements, they march on our flesh, as if in a parallel universe our spacial consciousness would be obsolete.

And not only that, time seems to be a multiplicity of unsynchronized parallel universes (desires).

When I am the hour

you play days or years

When you said that I was starting to doubt, wether you ever were interested at all in bridging over the borders? It seems, that you accept the border as a game - cold as it is. You’r hours, I’m years, no need for synching.

Yet, there is a horizon of every territory: somewhere on the line something changes. The question of ‘touch’ is coming up: is touch ‘connection', or 'revelation of difference'? Is there something like an absolute zero point of the border’s frigidity? An absolute one way? What happens when you cross that line? And when would you know, you see the border form the other side?

I don’t know if it is possible to spatialize this question or if it remains in dimensions we don’t know.

20)Lilia > Anouk > Esteban

Dear Lilia, you are asking this question in your text: “If one is not ready for change can change happen?”. Then what is it for you to be ready?

21) Arianna on Juan (reply Luiza)

the first two words you use in your text are

Two

ABYSMAL

I was actually impressed by that.

The coexistence of two elements. But:

is it one, repeated? is it that one is the copy of the other? were they born at the same time, from the same material, or..?

what's the relationship between the two?

2 + 0 = 2

0 + 2 = 2

1 + 1 = 2

1 + 1 + 0 = 2

1 = 1

2 = 2 ..

I read the relationship between the 2 as being the ABYSMAL.

You wrote it like that, in capital letters.

It sounded like a character from an epic tale - a hero, or the character from a cartoon.

the ABYSMAL. I see it wearing a mask, almost like Tiger Mask.

It is a wrestler.

I imagine a wrestling match -

between you and the work of art;

between a work of art and its copy (if such a thing as a copy exists at all);

between the work of art and its other, whatever that is;

between 1 and another 1..

The abysmal, in this perspective and in my view, is also what happens between 2 facing each other,

next to each other, close but never enough;

parallel, not reachable from each other's perspectives..that which escapes the cumulative.

The abysmal is an in-between:

that which is never reachable as a full state of being, of inhabited presence.

It is being as the state of passage.

It is

a hiatus, a longing,

a bit like sehnsucht.

What happens in this wrestling match?

22) Isabel asks Thiago to be responded by Sophia:

Thinking on irony again… on the irony that appears in the bubble that you proposed and the position of vulnerability, an “un-apparently presence” a “non-acknowledged little thing” yet so strong at the same time... A human-animal rhythmically gatecrashing through the restricting laws of “civilization”… that still speaks of a witty quality of human beings. My question to you is: What is more anima-Listic, to know or not to know?

I was "reading" Esteban's performance as an encounter: sound that piercing a specific changeable landscape.

in light of & in response to that, through Agnes's question i did a training in my materials

*

a dance

when we attend the forest as an entity which is constantly coming into being, the forest becomes a poem-body.

the forest, as an entity, is a whole, that is larger then the sum of its parts.

through processes of growth and movement, it is Alive. every Possible of its Potential is in its practice.

the forest is a structure while it is an essence.

a poem, is a whole, greater then the sum of its parts, a Thing that practices Life due to its formation.

its nature is a function but also an Experience.

the poem, is a vessel, for life to dwell.

language is finite and endless at the same time.

there, is a forest. it has a form. but since it practices itself as a body, it articulates as language.

a network of visible and invisible organs, frequencies, intervals, that manifests itself through exercising communication between its performances and the latent.

the forest is an oral teaching, of the movement of final towards infinity.

it is a place of divinity, where singularity succeeds to participate in intimacy, due to its becoming in contact.

this, operates as a system of encounters, where every intension is already a working. every encounter is an event of knotting and unraveling. singularities penetrating each other, permeable for each other, while also, at the same time, remaining different from, and 'other' then, themselves.

like the poem, the forest passes through its own borders while Art-iculating. like the poem, it declare itself, on its edges. in order to be, it reads itself and recalls itself continuously.

it is a membrane, reacting to the events, that registered in, and making of, its flesh.

to think the forest in that sense, is to think the light piercing the thicket and meets itself on a trunk. the bush's ravel as space of cavities for the wind to transfigure. it is to think the earth absorbing dead-vegetal-bodies to feed the live ones. it is to understand the mushrooms as a speech conductor. the animals, as a touch transmuting a limit into energy.

the forest IS.

in its own time.

the poem-body is a coherent order of becoming. by coming into being-in-contact it accedes and resists to inner and outer data while simultaneously produces it. as an operative structure, it calls, in its own time, to itself, and speaks, maybe strAngely its events.

the forest as a poem-body is an oracle.

*

15) Lili > Christian > Arianna

1) We step inside the outline of a circle placed on the floor.

We form a huddle.

2) We can lay on each other's bodies. Try to find a comfortable position, where you can close your eyes.
Ease down your head, your arms.. your body parts onto the ones of the others close to you.

3) Feel your breath
and try to feel the breath of the person who's closer to you.

4) Now, reach with one of your hands the surface of another body.
Keep your hand there. Try to feel the quality of the body material that your hand is touching.
How would you take care of that material?

5) With your hand - the hand that is touching another body - make one gesture to take care of that body material.

18)Robin > Sofia > Brendan

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