ARIANNA'S BUBBLE SCORE SESSION #1 gift
27 January 2016
posted by: Arianna Marcolini

case of: Arianna Marcolini

BOOH

1) a girl is sitting on a green sofa. She feels cosy,
surrounded by a huge woolen blanket and a white one.

Slowly, the white blanket swallows her.

2) the white blanket is now animated. It crawls from the
sofa onto the floor. It spreads out.

The white blanket makes love with the floor.
"aaaaaaaaah".

3) the white blanket slowly stands up. We can see now that
it is a body covered in white sheet. The form of a ghost.

The ghost moves a few steps away from the sofa.

A little hanky is left on the floor, where the intercourse happened.

Ghost + Floor = Handkerchief

project

Bubble Score

BUBBLE SCORE SESSION #6 21 January 2016
posted by: Nicolas Galeazzi

12 February 2016

SESSION #6

PARTICIPANTS
Luiza, Robin, Bredan, Lilia, Mala, Juan, Christian, Sofia, Arianna, Sana

PERFORMANCE > QUESTION > REPLY

Luiza > Robin > Brendan

Lilia > Brendan > Robin

Mala > Arianna > Luiza

Juan > Lilia > Sanna

Robin > Sana > Lilia

Christian > Christian > Sofia

Brendan > Juan > Arianna

Sofia > Luiza > Christian

Arianna > Mala > Mala

Sanna > Sofia > Juan

QUESTIONS:

Luiza>Robin>Brendan

“I had a dream of you. I talked and you listened, very attentive. And the way you listened made whatever I was saying very personal to you. And it made us become more intimate. I hope you can think what it was that I said”.

I had to re-read this text as I had forgotten the exact wording so I was glad to have it in my phone. I also sent it to myself by email and then cut and paste it into a document. So what started in a dream was sent out into the world in the form of a text, was read, became a mail, was cut, became a document, is going to be cut and paste and mailed again and posted in a google doc. Does any of this change it, make it less intimate, less personal. Originally in the text you address me personally. Did you dream of us as a group and send it to us all as a group text. Did you dream about us all individually then ponder each person’s role in the dream and send different texts. These questions come up as a response to the word personal and intimate and the apparent contradiction between the content and the medium. This contradiction sets up an interesting tension and triggers the question: ‘what is the conversation going on between technology and the content it carries in your work’?

Louiza if you're reading this, these are the words I heard you saying in the dream, “ when you hear my voice, you hear or see or feel the sound of my mind collaborating with the medium within which its embedded when it meets your ear, your eyes, your skin”

2) Lilia > Brendan > Robin

Dear Lilia and Robin

Eating the flowers, of following your text from the inside, closing my eyes, concentrating, focusing, listening, etc, I then took a step out and watched or read the reading of it. And from here i found my question, now, i became interested in seeing how you experienced the reading of your personal letter, the letter, a conversational tone, that enters a deep monologue.

Writing to another in the process of discovering what's contained in you, listening to another speak your words, touched by yourself through the two others, the reader and the dear receiver. Touching yourself in a conceptual threesome. I watch.

Imagine a house that contains no windows.

Long did i build you, oh house! With each memory i carried stones.

Outside of the walls of this house without windows, are windows.

These windows look in at us through the walls.

my question is, how can we see the windows?

How do we know they are there?

3) Mala > Arianna > Luiza

I have just experienced a work situation of this kind:

The passage between phase A of the work and phase B wasn't regulated by the transformation (distillation) of the concepts formulated in one phase in order to bring this distilled material to the other.

The passage was a jump. But not one that forgets what has left behind; rather, a jump full of the joy of discovery and of the wonder of surprise. To let yourself be surprised by the unusual, unexpected way a translation can take form.

This way, leaving things behind keeps a lot of trust in the things themselves: the trust that those things can have their way to arrange themselves without me choosing a direction for them.

I wonder about dream being the translation machine between one phase of a situation to another.

I imagine sort of a magic box: what happens when we put our concepts inside and leave them becoming something else through the dream machine?

4) Juan > Lilia > Sana

Dear Juan and dear Sana,

The performance of Juan made me think about your background in architecture. In the sense that there is the desire to transform landscape. In this case a temporary architecture that doesn’t add another piece of material to the environment but works as the creation of a story in that environment. The mountains made of clothes on the window horizon changed the view, the place, the dream. An autonomous entity passed by and left a trace in the viewers eye creating the possibility of change but also of an utopic change, or ephemeral change. I had to think about the work of Francis Alys, more specifically the one where a group of people try to move a mountain of some centimeters. Alys was also an architect.

Can you develop on Juan concepts of immediacy and trace in relation to the environment and the possibility of change?

5) Robin/ Sana/ Lilia

Dear Robin

I felt a space was oscillating between the voice describing a flower and your action constantly challenging the forms, frames and limits. This space inherits a lot from the violence hidden in both actions. Since the violence in your action is more constructive in the sense of transformation and suggestion, I find it as an active response to the idea of confinement.

On the other hand, in a very prototypical view wooden board reminds me of housewives working in the kitchen. I started thinking about ‘domestic confinement’.

My question is how the confinement ( as a general notion, nothing to do with feminism or domestic confinement or any subject in that field ) can be questioned and interpreted ? How the body can encounter confinement through it’s desires?

Dear Lilia

I have noticed that you talk about politic, love and touch ( even in the text that you read in last bubble score). I am curious if you see any connection between my question and that in a performative way.

7)Brendan > Juan > Arianna

To contribute to Brendan's questioning about parallel realities, here there is a link to a recent news... http://www.nytimes.com/2016/02/12/science/ligo-gravitational-waves-black-holes-einstein.html

8) Sofia > Luiza > Christian

Hi Sofi, Hi X-tian

Here goes my question, sorry for the delay!!!!!!!

The chain of dance that we made in your performance felt really good. It was fun and up lifting. I enjoyed appropriating your body moves with body, and seeing Brendan moves behind me. And as we danced I thought on how everyone else in the chain would be dancing and that with all these different nuances we were creating this dancing landscape.

And so, my question is: what happens to the landscape when my feet touches the ground?

9) Arianna > Mala > Mala

dear Arianna,

i guess this is my question to me about yr proposition?!

i'm interested in the language machine u are building and its potential.

so, there is a text to be performed, about the common, about the response-ability. this text is "voiced" as "sounds of letters" but also as "movements of the body". in yr case the body and the voice are saying the same. same text. in a way it is a literal translation or say, transcription of the text into another medium. but there is a feeling, as if u are trying to build something like a new language that can potentially serve as a "new common" through a new "common use", as u explicitly address us with offering it to be tried out and used by us. for now we still stay with 26 letters as yr translation is a translation of the 26 letters of the english alphabet. i begin to wander, if the language is to truly be response-able, able of response-iveness, through the act of use, what kind of language, would that be, would it still be a a fixed language, a language fixed as an (endlessly) permutable series of 26 units? could language as a "new" common used be more "responsive" to "life", to the emergent reality singular situations? what kind of language would that be? still a fixed set? or would there be gaps? yes, u are right, the question I'm asking is, how to create the space in language, where the contingency directs the course of an emergent structure and the subjectivity does not direct but participates in the course of events. and then there is a space for the movement of "response". perhaps the question is not about the invention of a "new (common) language" but rather about the creation of "space-s" within language, held open, for the impossible, unpredictable, provisional "movement's" of life, its intentionality and its logic wanting to be brought about. how then the machine "cracks open" to be permeable for the forever singular unfolding interventions of immanence?

thank u! xm

Dear Arianna how do you integrate resonance in your practice?

10) Sanna > Sofia > Juan

Dear Sana,

http://we.tl/69ljBJEAn9

?

KEYWORDS

Slippery; Elsewhere; Magic; multitask; re-religion; ambiguous staging; dream sequence; dimensions; layers; empathy/sympathy.

REPLY:

1) Luiza > Robin > Brendan

conversation between content and technology

there are two people

one delivering a message and the other receiving.

there is a simple remark, greeting, question, etc, that is delivered via text message.

there is a blind fold.

when the message arrives, the receiver puts on the blindfold and then begins to (try to) read the message and discover and respond to the content.

they discuss the message for 4 minutes

in the 5th minute the blindfold can be removed and the written content can be read, shared and briefly discussed.

end

references:

watch?v=ruab_pF-qh0

Heshka's Bubble Score Session 1 17 January 2016
posted by: Brendan Heshka

BUBBLE SCORE SESSION #1

I AM PROFOUNDLY SORRY

Comb hair into mirrored surface. Remove a cold can of coke from the fridge. turn towards imaginary audience. Crack open the can and take a big gulp. Take your seat at the table. And begin your apology.

I'm Bill Clinton SWAG

[embed]https://soundcloud.com/everythingredflame/22-bitch-im-bill-clinton[/embed]

practice makes perfect

listen to the entire speech :

http://www.historyplace.com/speeches/clinton-rose-garden.htm

Good afternoon.

As anyone close to me knows, for months I have been grappling with how best to reconcile myself to the American people, to acknowledge my own wrongdoing and still to maintain my focus on the work of the presidency.

Others are presenting my defense on the facts, the law and the Constitution. Nothing I can say now can add to that.

What I want the American people to know, what I want the Congress to know is that I am profoundly sorry for all I have done wrong in words and deeds.

I never should have misled the country, the Congress, my friends or my family. Quite simply, I gave in to my shame. I have been condemned by my accusers with harsh words.

And while it's hard to hear yourself called deceitful and manipulative, I remember Ben Franklin's admonition that our critics are our friends, for they do show us our faults.

Mere words cannot fully express the profound remorse I feel for what our country is going through and for what members of both parties in Congress are now forced to deal with. These past months have been a torturous process of coming to terms with what I did. I understand that accountability demands consequences, and I'm prepared to accept them.

Painful as the condemnation of the Congress would be, it would pale in comparison to the consequences of the pain I have caused my family. There is no greater agony.

Like anyone who honestly faces the shame of wrongful conduct, I would give anything to go back and undo what I did.

But one of the painful truths I have to live with is the reality that that is simply not possible. An old and dear friend of mine recently sent me the wisdom of a poet who wrote, "The moving finger writes and having writ, moves on. Nor all your piety nor wit shall lure it back to cancel half a line. Nor all your tears wash out a word of it.''

So nothing, not piety, nor tears, nor wit, nor torment can alter what I have done. I must make my peace with that.

I must also be at peace with the fact that the public consequences of my actions are in the hands of the American people and their representatives in the Congress.

Should they determine that my errors of word and deed require their rebuke and censure, I am ready to accept that.

Meanwhile, I will continue to do all I can to reclaim the trust of the American people and to serve them well.

We must all return to the work, the vital work, of strengthening our nation for the new century. Our country has wonderful opportunities and daunting challenges ahead. I intend to seize those opportunities and meet those challenges with all the energy and ability and strength God has given me.

That is simply all I can do -- the work of the American people.

Thank you very much.

President Bill Clinton - December 11, 1998

Anouk Bubble Score session 1 15 January 2016
posted by: Anouk Llaurens

case of: Anouk Llaurens

BUBBLE SCORE SESSION #1

I ask people to make a big circle to create an inside and an outside

I say GO and I enter the circle with one of the foldable visual field

I place It on an angle of white tape I see on the floor

I go out to take the second visual field

I re-enter make it stand and let it fall flat on the ground

I look at it

I walk back still looking at it

I want to see the reflection of the light

I go down while going backward so my gaze is almost at the same level

I see a fragmented line on its surface that I did not notice yet

I am close to a white chair that finds itself inside the circle too

I am squatting next to it

I look at it

I feel the presence of someone close

I take the chair and I place it inside the corner standing visual field

I sit on the chair

I look at the visual field

I see faces of people looking at me through the whole

I rotate 45° and I see another part of the floor

I pass through the whole to the other side

I walk on my hands and feet then I stand up and walk toward the window

I exit the circle to go closer to the reflection of the visual field

I see it’s night

I see myself, I see the visual field, I see others looking at me

I walk backward to exit the image

I ear people moving

I turn around and I see someone standing and writing next to me

I look at him

He looks at me

I see the visual field on the floor

I walk towards it

I take it with my hand and make it stand like the other one

I sit with my back to it and look at the ceiling

I see her eyes looking at me

I see myself looking at the ceiling

I see the neon lights and white stripes

I ear people moving to see me

I know some people cannot see me

I imagine the image they see

I look behind the visual field

I see the face of the people that could not see me before

I lay on the floor as if I was sleeping

I have one leg bent and my left cheek is on the floor

I have an impression of déjà vu

I know that I am in two halves

I say CLOSE

I close my eyes

I feel the movement of my breath

the bell rings

I

BUBBLE SCORE Session #1 (William James-Black Dice) 15 January 2016
posted by: Pierre Rubio

30 October 2017

BUBBLE SCORE SESSION #1

Pierre Rubio broadcasts an audio file : https://youtu.be/uG3-z4CXvn8?t=4h47m42s

(an excerpt from "Essays in radical Empiricism" by William James

from Chapter 8 "The Notion of Consciousness")

while the participants look at a table and chairs

while they are invited to listen carefully

while they follow the text (or not) on printed copies

sometimes some music comes and goes :

[audio mp3="http://apass.be/wp-content/uploads/2016/01/01-Cloud-Pleaser.mp3"][/audio]

Black Dice / Creatures Comforts / Cloud Pleaser - 2004

project

BUBBLE SCORE SESSION #1 13 January 2016
posted by: Gerald Kurdian

13 January 2016

Isabelle Steng...oposal.pdf

PARTICIPANTS : Arianna, Tinna, Isabel, Juan, Ricardo, Esteban , Lilia, Yaari, Juan, Anouk, Brendan, Gerald, varinia, Sana, Agnes, Pierre, Luiza, Sofia, Aela, Christian, Lili.

PERFORMANCE > QUESTION > ANSWER

1) P) Arianna > Q )Sana > A)Pierre

2) Yaari > Christian > Gerald

3) Christian > Isabel > Arianna

4) Sofia > Lilia > Yaari

5) Ricardo > Varinia > Esteban

6) Esteban > Ricardo > Christian

7) Anouk > Esteban > Luiza

8) Gerald > Tinna > Sebastian

9) Lili > Yaari > Varinia

10) Luiza > Brendan > Sana

11) Agnes > Anouk > Tinna

12) Brendan > Luiza > Anouk

13) Sebastian > Juan > Lili

14) Tinna > Gerald > Aela

15) Juan > Sofia > Juan

16) Aela > Aela > Sofia

17) Sana > Arianna > Brendan

18) Isabel > Pierre > Agnes

19) Pierre > Sebastian > Lilia

20) Lilia > Lili > Ricardo

21) Varinia > Agnes > Isabel

QUESTIONS:

1) Sana asks Arianna (reply Pierre)

Is the disfigured, anonymous body approachable through its spontaneous reactions to it's surroundings?

If yes, to what extent?
If no, what is the alternative?

2) Yaari > Christian > Gerald

Your text is beautifully hovering at a mental state where situation has merged into timelesness, an energy that could last for a split second or 80 years.

I am in this connection curious to know if it would be possible to tie the situation to an ideal geographical location (city, desert...) one that would include year, space ( i.e. mountain top, café, bus), tools for writing?

(Of course this question assumes that you're willing to feed in to a parallel fictional universe, if you're not already there.)

3) Isabel asks Christian (reply Arianna)

The maori people have amazing techniques for dialoguing with the sea. In fact in Easter Island elder women teach their grandchildren how to make the waves get smaller. Thus, they avoid being taken away by the gigantic waves when they go collecting shells and exotic seafood on turbulent rocky seashores. I imagine there must be a symbiosis between hypnosis and molecular water cells in the human body interacting with the molecular water cells of the sea. When we were talking about the performance you presented in bubble score # 1, you mentioned the paradox between hypnosis and property, as hypnotizing the landscape as a property means (I hope to have understood well?). My question is: Could the notion and practice of private property be a result of hypnosis and why?

4) Lilia To Sofia (reply Yaari)

The first thing that came to my mind was the idea of falling in love. And mostly the Falling in the Love. The vertigo towards the other, the ecstasy of becoming blurred with the other, indeed like a suicidal flirt that creates a third space for fictional reality, that constructs reality itself. I think I have question in two folds. They concern the romantic idea of love and the fictional aspect of it anchored in the falling. How do you relate the idea of love with the idea of life? And how do you think the the idea of love builds community? This can be seen in a literary way, philosophical or...

5) Varinia to Ricardo (Reply Esteban)

And if all the various body operations would halt in a single and inoperative - but nontheless expressive - act, or if all variations would manifest as sameness, how could we then still call the body the body?

6) Ricardo to Esteban (Reply: Christian)

Something that I got out of your proposal is that the element of sound blurs or obscures meaning. You have been working on the idea of the subject narrating itself through language and through cultural practices such as cooking or weaving. I understand that the text that you chose is of interest to you since it works through the relationship Lucrecia Martel has found between her sensory, affective and biographical memory, and the tool she articulates through her filmic work. In this case, the tool is sound and its power to pierce the body. This short narration that you are appropriating is of relevance since it evidences the poetic power of Lucrecia's films, which is your point of interest.

In which way do you think the action you presented creates a link between your interest in the subject narrating itself, its displacement in a series of cultural, collective practices, the idea of artistic tool and poetic efficacy and finally, the concept of appropriation in the construction of the subject?

7) Esteban to Anouk (Reply Luiza)

Dear Anouk
For me it was clear that we were dealing with traces, material traces and spatial configurations that were having a second life.
During the performance, however, it became very much about our presence and present time experience, about inhabiting the fragment and the impossibility to see it-all. There was such a calm, open presence in your performance and subsequently we all became performers/onlookers/witnesses at the same time.
Besides the blurring of time frames and your interest in trace as present experience, and perhaps a preoccupation for preserving something of the experience for future performers/onlookers/witnesses; do you also see a blurring of the subject-other happening? are we regarded as our own sensorial world, or, how do you understand the subject-other interface within this experience of blurred temporality?

9) Yaari question to Lili (reply Varinia)

About stretching or attracting the physical capacities of your body because of an immediate contact with an-other body. About a moment of endurance vis-a-vis intimacy. About a necessary need which can not be fulfilled unless repeated, and even then. How breathing can obey the effort and produce a signifcant change in the procedure?

10) Brendan question to Luiza (reply Sana)

Luiza

I was mostly swept away by your scenography. Which was dictated by the text and achieved quite simply by killing the lights. First leaving just the 4 or 5 glowing apples in the room, then later beautiful silhouettes accompanying only one's self and the voice of the page, backdropped, for me, by the glass wall and the brussels skyline. Feeling at ease and carried away.

Recalling my experience and re-reading the text, I conceived and noticed many change of planes, shifting points of view, view points, from the horizontal to the vertical, to and fro, internal/external, etc. It occurred to me, after thinking about this changing of planes for awhile, that it could have been nice to have a glass ceiling for the prophecy of the glass ceiling, but how!! In the end, I admit to being very pleasantly distracted from the text by what I was experiencing as caused by the windows that I faced (and am now also considering how those whom I faced, those silhouettes I looked upon experienced things in a different darkness), and worked to not feel guilty by my failure to studiously follow the complex text. Now i realize this was not the fault of me being a poor student !! But it was my body being hypnotized by the text and the glass ceiling! Which here, was experiencing vertically as a window, a glass wall !! Oh the twisting embodiment that escapes my frontal consciousness !! My body working to join the fold of the changing planes, the shift of view points anchored by my eyes stuck in a head. Body seeking the horizontal, mind in the vertical. I need to lay down before the glass, and make it my ceiling !!!

But!

There is a part of the text that is a bit more unclear for me, how does all this, the presentations and suppositions made by the poet (as well as mine) amount to the conclusive line "To remember will become a thing of the past ... i can imagine that light effects negatively the capacity to remember, but this is not the realm of the text i believe. So, i guess my question is, how does the author reach this conclusion that results from what he/she proposes, "to remember will become a thing of the past"? Or maybe more broadly what do you feel contained in this poem, is consequential on memory/remembering/forgetting?

eeeeek! i think i just figured it out! But am very interested to hear the correct answer from Sana.

11) Anouk question to Agnes (reply Tinna)

Dear Agnes, the world "reality" is appearing one or several times in each the text fragments.

Do you think "reality" is something that can be shared ?

12) Luiza to Brendan (Reply Anouk)

Hey! So I remember the sound of the can of coke being opened before your reading. It was for me a very well known sound that could set up a space. The way you positioned it made me think of sacred and profane symbols. Also, that speech sacralized america as a way of apologizing for misconduct, for profaning america and its figure of power, the president. So, I would like to know what is for you (the) sacred and what is (the) profane and how is, if there is any, your relationship to both?

13) Juan To Sebastian (Reply Lili)

How accurately can one transfer verbally the intrinsic physical characteristics of an object ?

14) Tinna to Gerald (Reply Aela)

In the frame of your bubble performance, we collectively agreed on a partially wrong information.
Why do you need our trust to language to be hijacked?

15) Sofia To Juan (Reply Juan)

When you brought the material from Youtube it felt to me as an act of quoting. So then I wondered how do you use quoting and citing in your practice? How do you quote?

16) Aela to Aela (Reply Sofia)

Languages and artistic, political and media representations model, determine, freeze, valuate, judge, catalogue the body using subjective parameters dictated by society.

Is it then possible to de-determine the body ? To think the body as a moving and liquide entity, able to metamorphose endlessly without deteriorate what is considered as individuality ?

Or do we have to give up on individuality as a fixed and safe marker and to reconsider it as something alterable and altering ?

In this case what is individuality ?

17) Arianna to Sana (Reply Brendan)

At the beginning of your writing, you create the almost cinematic atmosphere of an ancient tale.

It's a tale of growth and change, and I think it is telling us about roots.

I could feel the wind - or, more precisely, I could imagine this wind of history: a wind whose strength comes not only from its physical force but also from the distance it has to pass through to come to my face, and to face my body.

Is resistance something that we grow with time, like a plant grows roots that go deeper and deeper into the ground?

Is resistance something superficial - that acts and is effective at and from the level of the skin?

How deep resistance grows into the body?

These are more general questions I have - they do the groundwork for what I'd like to ask:

Imagine the strongest wind you can think about. It is so strong that blowing against your body, it keeps it suspended in the air, preventing it from moving. Not a step is possible.

What would you do with your body (physical strategy) in order to be able to keep moving in spite of this wind?

18) Pierre to Isabel (Reply Agnes)

Dear Isabel,

What you offered last Wednesday to the Bubble Score community was a text, precisely the beginning of a chapter entitled "Goddess of the Witches" from a book called "The Great Cosmic Mother".

The text is about the multiple prehistoric and historic cults around the figure of Diana/Artemis/Ishtar/Hecate that produced knowledges in the past associated with feminine power and later on were condemned, banned, erased by, first, the greek patriarchal turn, then by Christianity, culminating with hunts and burnings of witches in the 16th and 17th century. The text ends with the following line "The witch persecutions were not simply aimed at 'Devil-worshipers', but at ancient human knowledge of the world".

Later on in a discussion with me you said "but what have women done to men to deserve that ?"

If I share with you the idea that today's situation can be enlightened by studying the past, that we must practice an archeology of the occidental way of thinking and that a decolonisation of the mind is necessary to prevent more shit to happen in the future, my reaction to the text's positioning was more doubtful, concerning the way the text is written and the assertive tone of some of your remarks.

In fact, I do think that the text is over dichotomising the issue, reducing its complexity and is using the same tools that authoritarian knowledge : the "there is no alternative" leading to an injunction to think in a dichromatic way : black or white. Period.

Concerning women, I do not think that women did anything to men, but that the power shift happened for political and economic reasons in societies growing in scale and in need of a general order, a pre-globalised order disqualifying the local more and more. A "general way of thinking", a way to generalise everything, to universalise, leading to the interchangeability of the humans where, under the ancient localised order, the communities were more singular, particular and not replaceable.

I do not want to continue today as I have to ask you a question, but would like to continue discussing with you about this book statements and your relation with it. (you know that I like witches as you do, but may be differently?...)

My question is inspired by your text in relation with another text.

It's a text written by Isabelle Stengers called "The Cosmopolitical Proposal" where she proposes ways to actualise and produce real changes.

She, and I agree with her, shows that denunciating is not enough to shift, to dismantle the authority associated with knowledge.

I attach the text to this mail. I glossed some lines. hope we can find a moment to read and discuss them together.

You can find it here : Isabelle Stengers_The Cosmopolitical Proposal

My question now.

In fact I have two. Couldn't choose.

"What "taking magic seriously" can do for you today?" or "What do you hope for by "taking magic seriously" today?

You pick.

Hear from you,

see you next week

amicalement,

Pierre

19) Sebastian to Pierre (Reply by Lilia)

Which artistic experience changed your way of thinking? And how?

19) Tinna to Gerald (Reply Sebastian)

In your performance you made a live remix of the past, with recordings of us talking and the song Lithium with Nirvana. What connection is there between these 2 sound-sources?

20) Lili to Lilia (Reply Ricardo)

If internalizing camera functions in how we think is mostly stemming from „manipulating time“ (jumps, cuts, continuity, fast forwards etc.), which other notion is being manipulated/influenced by haptic information? Or is it simply subordinate to visual/audio neural processes?

Can you imagine whole room with all the people moving around you, running underneath your fingertips instead of you moving in the space?

How would that inform you differently?

(receptivity in relation to various body positions - e.g. "gallery with beds")

21) Agnes to Varinia (Reply Isabel)

I remember the walk of two black gloves, strong like ants that can sustain a weight five thousand times greater than their own body weight. thinking about ants I guess the ability to support a multitude of the own heaviness does not mean that it is also a pleasure to do so. I imagine it could be quite annoying, which reminds me of a question that was posed to you already last week. I will reformulate the question and ask what makes you more angry, cold or dirty hands?

REPLIES:

2) Brendan > Luiza > Anouk

Preparation: I write a draft of text on my computer then I finish it writing it on a positive visual field, on the materialized form of my visual filed at a certain moment. I write SACRED on one side and PROFANE on the other. I finish writing my text by passing from one side of the “page” to the other. I have the object/page in my hands, I am manipulating it. My manual activity (writing, holding, turning) supports my intellectual activity and the process of articulating my thought. I have to put numbers and arrows to help me find the next sentence when I turn to the other side of the page. I read the text in front of the group, kneeling on the cardboard floor, holding the object in my hand in front of my eyes (face). I am turning the object/page to read one side and the other.

Performance of the text

1 - PROFANE: The root of profane is the Latin profanes which means “ what is in front of” which means “out of the temple”, non-initiated, ignorant.

2 - SACRED: The word "sacred" descends from the Latin sacrum, which referred to the gods or anything in their power, and to sacerdos and sanctum set apart. It was generally conceived spatially, as referring to the area around a temple. The English word "holy" dates back to at least the 11th century with the Old English word halig an adjective derived from hāl meaning "whole" and used to mean "uninjured, sound, healthy, entire, complete".

3 – PROFANE: What I keep from profane is non-initiated, ignorant.

4- SACRED: What I keep from sacred is and from sacred entire and complete.The shift from the profane space to the sacred space happens when I PAY ATTENTION. Then I see the sacred in the profane.

5 – PROFANE: For me sacred and profane are the two sides of the same coin. They are not intrinsically different. The sacred is when I listen and the profane is when I don’t. There is nothing to change, nothing is better. As Cage would suggest…

6 – SACRED: “ CHANGE YOUR MIND!”

7 – PROFANE: I AM OSCILLATING BETWEEN THE TWO. It is an OSCILLATION. I put the sacred is the realm of sensoriality and the profane the realm of words. For me the sacred cannot be expressed with words.

8 – SACRED: The sacred is a matter of ATTENTION. It is in the realm of EXPERIENCE. The sacred ineffable, it is beyond discourse. The sacred is for me a NON-time/space, NON-time/space of no escape. I am rarely there, though I love when it happens.

9 – ROFANE: I made a mistake while typing, SACRED became SCARED. Did we made this separation because we where scared? Scared of what? Is the profane the realm of fears?

10 – SACRED: The dictionary says that that one can pass from the profane dimension to the sacred dimension through RITUALS. I am a bit scared of the word ritual. I find it too heavy, too serious. Still I am looking for the sacred through my work.

11 – PROFANE: but for me the sacred is very much connected to SIMPLICITY and to the concrete and daily world, the “ NOTHING SPECIAL”, the “ PLAIN”, some could say the “BORRING”.

12 – SACRED: I find duration useful, duration and repetition. I practice observing myself, jugging and labeling. I practice observing my internal WAR.

3) Christian > Isabel > Arianna

Climbing the scaffold and laying down on the platform on top, face downwards.

Reading

CHAPTER 1

(Present. Remembering)

My mother suffers from dizzy spells.

She prefers not to go climbing mountains. She stays on plain horizontal surfaces, where she can see everything at the same level.

When I was a kid and we went visiting a city, we would go up the highest tower of that city.

She would come with the rest of us, but would stay far from the view of the terrace. If we moved towards the edge, she would scream and grab the tip of our sweater, or the skin of our elbow if she had the chance, and prevent us from the risk of approaching the risk of falling.

Pause.

Reading

CHAPTER 2

(The remembering materializes, coming back into the present in a specific form)

stream of consciousness

Opening a bottle of water previously placed on top of the scaffold. Leaving the stream of water going down by the force of gravity through a hole in the platform.

Water falls on the ground from the height.

Pause.

Reading

CHAPTER 3

(It's night. The sky is clear, of an opaque dense black colour. I can see the full moon and the stars.

I am laying down on the top of something of uncertain nature. I am very close to the Moon. I can see it even with my eyes closed. I can almost touch it.

I think about the ones who are still on the ground)

What do you do when the tide rises

1 - When it comes up, it takes your elbows and brings them more and more towards your ears.

Be careful then - protect them using a thick sweater, or wearing water wings.

2 - Climb somewhere high and stay there for a while.

Tides are caused by gravity.

They can occur as two high waters and two low waters each day.

However, these periods do not happen at the same time. This is because the Moon takes its time to line up again exactly with the same point on the Earth.

Check it out with the Moon for more info.

3 - If the swirl is right above you, you cannot do anything more than waiting for it to come down. You can also try to bring it down yourself through the use of your hands.

Singing might help. Hypnosis is the last resort, for hypnotizing a tide requires you not to be afraid of the risk of approaching the risk of falling.

10) Brendan asks Luiza, Sana replies

Borders are frigid
Distances wrapped in a time, lost

Borders are frigid
Distances covered in colors, pale

Feeling confused
We dream out of synch
Light bounces off your skin
Reminds me of distorted past
Shattering into pieces
Memories remain less of debris

I turn ubiquitous

Conquering the time
Let’s play a game
When I am the hours
You play days or years

Borders are frigid
Distances fill in you and me
marching on our flesh
Hear ‘em breath
Feel ‘em float
Like a sorrow

Now turning thicker
Like a forest
Vast meadow covers the distances
Ah,
Such a wonder!

14) Tinna to Gerald (Reply Aela)

From an english and objective frame of reference, putting aside any daltonic possibilities... well we could argue on an objective way to describe the wrong colour with the good name or a subjective way to be objective ??? That sounds already messy...

SO... from an english and objective and human-being frame of reference, I am eating a green apple. Considered lonely, in a completely abstract context, an apple is a thing. But in an objective context, THIS apple is an object constituted by many different objects, its colour, its pips, its core, etc.

Objectively eating this apple I'll find its pips and its pips are black. Everyone is following ?

So from now on it appears that the green apple is also constituted by black pips. From here it is a very easy abstract jump to say that at some point the green of the apple is made by the black of the pips contained by this very apple and an even easier one to say that green is black ! Probably as much as green is blue and yellow !!!

And even easier !!! Green equal black !

Let's study a bit this affirmation. When I say green equal black, I am doing what is called an abstraction ! The process of abstraction is used in many domaine and specially in mathematics to make easier operation ! The system of abstraction works by simplifying a complicated reality to be able to deal with ! Same process with objectivity ! Every time we assign a name to a thing we reduce every possibilities of different subjectivities in favour of a common objectivity !

So it is very important to notice that objectivity is only a collective agreement on how to reduce individual subjectivity, A=B under a certain frame of reference but under another one, A is absolutely not equal to B !!!!

Let's go a bit further :)
An apple is as black as an orange !
In terms of blackity an apple is actually equal to an orange even if not a single one of them is black (once again from a non-daltonic point of view) !
I could have also said an apple is as NOT black as an orange ! But what happens when we use the negativity ! If I say an apple is NOT black, the mind will picture first the apple and then the black colour: result = an apple is black ! Why, because the mind can't picture negativity but only what is viewable and negativity is not a viewable object but a substraction of viewable object from viewable object !

Let's go on the funny side of this discovery !!!
The delay created by the mind trying to remove the black colour from the apple it pictured is the origin of irony and the one of laugh !!!!
Demonstration: joke + delay or time of understanding = laugh hahaa...
Irony and laugh come from a very short misunderstanding or a little awkwardness

and uncomfortable situation, that is a tiny excess of subjectivity in an objective discourse ! A tiny excess which is fortunately possible due to the process of abstraction I described earlier !
If there was no common objective reduction of subjective reality there will be no surplus of subjectivity to use and then no laugh and so a very sad society !!! In which one everyone would be able to communicate entirely with anyone else, boring....

Now... how to make a black apple revolution !!!?
Working with abstraction once again, I am gonna make an equality between the Foucault's relations of power and the objectivity I described earlier. Relations of power as objectivity exist in any domaine, political, institutional, relationship and so on, this objectivity appears when one tries to direct someone else's behaviour. But this objectivity is only possible among a certain amount of liberty corresponding here to subjectivity ! If there was no possibility of expressing subjectivity, there will be no objectivity at all.
The practice of liberty or the practice of subjectivity is an individual way one has to play with objectivity, to play among the rules of common objectivity !
Most of the time, as we saw it, the game of subjectivity among objectivity leads to irony or laugh !
A black apple revolution is a revolution everyone can practice on its own, discovering its own subjectivity, applying it to many domaine and sharing it ! That is knowing oneself or to use the words of Foucault: taking care of the self !

A black apple revolution is a ironic revolution a revolution that shows the limits of objectivity and power through laugh, through a tiny delay of misunderstanding !

One is not free from its own definition as soon as one remains understandable ! A peri-understanding is the most powerful tool of a funny revolution and a black apple is already in itself a revolution ! A displacement of the domination of objectivity upon subjectivity !

This is a revolution !!!

17) Arianna to Sana (Reply Brendan)

Text For Vacuuming

This force gives you body, your face, eyes, voice, and skin.

and now it wants it back

this is how you will live and how you will die

But, even in the strongest, most paralyzing wind possible

there is always a way to move.

Resistance is a space between the giving and the taking, it is you.

every possible move is contained by you, and amongst the you's that approximate.

freedom of movement is always accomplished through shifts of the body into the potentials of force.

with this we can open doors in the wind and fly

19) Pierre > Sebastian > Lilia

Hmmm I think all artistic experiences have changed my way of thinking. Or as Willem James puts it, (if I understand well) the nature or substance of experience is not different from the consciousness of that same experience. The two realms of experience and thought are separated in a pure functional way in order to process the continuity of experiences in our memory. So if I follow this thought it would be impossible to not change my way of thinking constantly.

I often asked my self if is the experience of the arts that opened my mind, or if my mind open up the art experience? If one is not ready for change can change happen? Either way through out the years my experience of the arts has changed a lot. My deep love for the performing arts has maybe a say in this (my addictive behavior as well).

The temporality of the performing arts connects both the realms of experience and thought in a one to one relation, in the back and forth between the now and the immediate memory of it, together with the memory of other experiences and thoughts about it, in a very direct very fast way. The processes are mingled and refer to the complex act of perceiving and maybe in that exact moment of the present the ‘fake’ dichotomy between experience and thought collides. There is just the moment of the moment. At a first instance I don’t remove myself from the moment, I don’t create a distance that allows me to categorize my experience, or do I?

This makes me think now of a text of Bojana Kunst about the temporality of performance, which speaks about the political: http://www.stedelijkstudies.com/journal/the-troubles-with-temporality/

I quote:

Performance can be thought of namely as an antagonistic knot of various temporal practices, a conglomerate of contradictory forces (human, non-human, spatial, natural, etc.) that constitute the moment of the present and the invention of its political potential. Performance is not a liminal practice because it is an act of the individual subject being subversive of its own context (that is to say, the figure of a militant artist), but because it is a sum of contradictory, complementary, or causally related micro-actions and events that must invent the form for the temporal condensation of actions, moves, energies, materials, and things, and in that way open the creation of performance to the intensity of life.

If change occurs and I think it does, definitely due to its inherent political conditions I would like to mention a performance that came first to my mind: Jerome Bel by Gerome Bel. Many questions emerged from that performance I saw in 1995 in Gent in a rather small theatre. I think I connected strongly to the questioning of dance and to the stripping down of the performance tools to their strict minimum: bodies, light, music and space. There was a sort of back to the basics strategy that enhanced very complex questions of authorship, agency and capitalism. What are we seing when we are seing performance? What kind of mechanisms hide behind the protocols of theatre as a place for the production of entertainment?

I’ve never seen consciously something like this before, poetical and critical simultaneously. Those bodies, light, music and space were not naked in the bareness but filled with codes, intentions, manipulations and emotions part of our collective consciousness. We were not looking at alienated bodies deprived feeling and meaning but to bodies relating in their sensuality and knowledge to the apparatus where they were performing.

GIFTS:

YAARI

And your Eye – where does your Eye dwell?

down onto you,

in you

will you believe my

Mouth

I speak of love

How did we live until here?

the body of each of us were

your body

It gleamed

I open your leaves, forever

only there did you enter wholly the name

that is yours

the Listened-for reached you

It cast an image into our eyes

and the Dew of your thought

(not in the eye for the tear

but seven nights higher

when I attended the orchids

when I was audible)

it shivered

We

have drunk

The blood and the image that was in the blood

we drink it and we drink it

as if I were this:

your Whiteness,

as if you were

mine,

as if without us we could be we

The place of angels

was written there too

How

did we touch

each other - each other with

these hands?

we could not let go, and it came at us

came through us at the last membrane and

your eyes

they dwell and dwell

they speak

they sing

an acoustic thought

I

speak

the Prayer:

Come, come.

Come a word, come,

and something believed the eyes and the mouths

and obeyed

KEYWORDS :

fiction; embodiment; memory; disappearance; disturbance; transparency; liminal body; tentacle; noise; threshold; come; crocky; microwave; time (now just passed); universal knowledge; fairytale; estrangement; inhabiting the ruins of the body; unidentifiable; hybrid nature; unnamed.

REPORT : the shot gun (coming soon)

Every person contributed a key word after seeing all the presentations. We did a collective constellation practice to relate and organize the key words. The image formed by the squared papers on floor was a shot gun. Aside of that image, there were floating three papers with the key words: unidentifiable; hybrid nature; unnamed.

I remember three main focus: Memory, (fiction, embodiment, disapearence, disturbance,) System ( crocky, microwave, come = universal knowledge, fairy tale, estrangement ) and Body ( inhabiting the ruins of the body). Out of the shot gun a free floating constellation contained the keywords: unidentifiable; hybrid nature; unnamed.

project

Bubble Score

BUBBLE SCORE SESSION #7 11 January 2016
posted by: Aela Royer

24 February 2016

BUBBEL SCORE SESSION # 9

PARTICIPANTS:

Sofia, Christian, Aela, Gerald, Lilia, Lili, Sana, Nicolas, Luiza, Varínia, Robin, Brendan, Mala

PERFORMANCE > QUESTION > REPLY

1)Varínia > Sofia > Lili

2) Robin > Nicolas > Sana

3) Nicolas > Sana > Luiza

4) Lili > Lili > Varínia

5) Luiza > Varinia > Aela

6) Lilia > Robin >Brendan

7) Sana > Luiza > Mala

8) Gerald > Brendan > Lilia

9) Christian > Mala > Sofia

10) Brendan > Lilia > Nicolas

11) Sofia > Christian > Gerald

12) Aela > Aela > Christian

13) Mala > Gerald > Robin

QUESTIONS:

1)Varínia > Sofia > Lili

Let’s act as if this was what happened last Wednesday. Let’s take one thing for another:

X was asked to locate and touch parts of Y's body, as if it was someone else’s. X chose the neck when The Scientist asked to act as if it was a loved one, but X also chose the neck when The Scientist asked to act as if it was X's own body being touched after sex. Easy to come to the conclusion that, after sex, X wants to be treated as if X’s loved ones. In this experiment, the method of taking one thing for another leads to elucidating conclusions. Let’s elaborate on this methodology. Maybe it works like a mathematical equation, where The Scientist substitutes Y for different values in order to discover more about the nature of X’s conducts and desires.

What does it do: to take one thing for another?

2) Robin > Nicolas > Sana

Dear Robin

I found the solution to your riddle. You are a snail in outer space (probably on the way towards a black hole.)

Still my thoughts couldn’t stop speculating, and I was wondering if it would be possible to exchange some words in your poem. For example: “House” with “Freedom” and “staircase” with “happiness”, “windows” with “Self”. Or more concrete: “my House” with “public space” and “my staircase” with “urbane planing” and “my windows” with “responsibility” etc.

This would give sentences like:
My freedom is circular with no beginning or end…

or

My happiness lead both up and down; my Self is looking both in and out…
or Public space turns on its own axis in a state of perpetual movement..
and As Urbain planning lead both up and down, responsibility look both in and out..

I don’t know how to interpret such sentences, but somehow they sound more promising then looking actually out of my actual “window".

Or how about this:
Our conflicts are circular
with no beginning or end, no sides, no up, no down.
Our conflicts turn on their own axis in a state of a perpetual movement.
Fear infiltrates both up and down suspiciousness observes both in and out.

Your last line is:
There is an occasional flicker, a slit, a slip, of light a path both in and out.

What is “light” for you?

Best, Nicolas

3) Nicolas > Sana > Luiza

Dear Nicolas

Your script and specially the way you presented that make me think about black comedy. In black comedy there is the possibility of talking about serious issues and facts in a humorous way. The characters you created and their confusion were in contrast with the sequences you invited us to imagine as the background. I enjoyed this contradiction,

Dear Luiza

My question is what happens when paradoxes come together?

4) Lili > Lili > Varinia

As the question goes to my own bubble score, I am tempted again to resort to yet another performance artist - Pipilotti Rist and her video-piece, Mutaflor. Question for me to consider again is how do I assimilate influences (consciously and recognizing the unconscious absorption over time). Which artists´ hair would I keep in a little locket? How do I hold them dear, what have they passed on to me?
But in the light of Mutaflor´s perpetual exchange of the inside and outside here is my question to you: how can performance create without excavating? Creation (of new) seems to happen in the pauses we make (for the audience, which are for the performer one of the densest moments, being pressed against the arrow of time, progression and the eye of the audience).
Or the other way around - imagining creation only happens by digging out bones of the bodies once existing, we re-flesh them into the zombies and then how far into the future are we following our creations?

5) Luiza > Varinia > Aela

in your bubble action, you turned off the lights of the room to then use a torch. With the torch in hand, you rolled on the big sheets of paper bringing to light drawings, words and symbols. Your body action, the torch and the action of bringing to the light some drawings made me imagine as if you were an explorer looking to discover some ancient hieroglyphs in a dark cave. My question doesn't concern a possible fiction but more of a technical matter. If in my view a small source of light -the torch- helped you to highlight what maybe the room light would have not, in what other ways could the body become a frame for us to look into the reality in its detail and complexity ?

7) Sana > Luiza > Mala

Dear Sana,

and Mala,

Here is my question, sorry for the little delay :)

In your proposal we were seeing our surroundings with our eyes and through each other. We were seeing through our ears and through language. We were also seeing through our location throughout the stairs and the architecture of the building. That way of seeing was full of flaws, but also of possibilities of reaching things that otherwise we wouldnt be able to reach.

But, to be honest, I felt a bit disconnect of what I was seeing (for myself), as I was immersed in this "seeing through other...", and so I wondered, what is this disconexion ? Is it an openess? Or an omission? How much do we have to disconnect from ourselves in order to connect with another (person, body, structure, time...)?

Hope you have a great weekend!

x

Luiza

8) Gerald > Brendan > Lilia

Remember when we all had VCR's ?

Remember ?

Remember that little clock,

the one on your VCR,

that was always blinking twelve noon,

because you never bothered or figured out how to get in there and change it ?

So it’s always the same time,

just the way it came from the factory.

Good morning. Good night.

Same time tomorrow. We're in record

So here are the questions: Is time long or is it wide?

And the answers? Sometimes the answers

just come in the mail. And one day you get the letter

you've been waiting for forever. And everything it says,

is true. and then the last line says:

________________________________

And what I really want to know is: Are things getting better,

or are they getting worse? Can we start all over again?

Stop. Pause. We're in record. Good morning. Goodnight.

Now I in you without a body move.

And in our hearts we fly. Standby.

Good morning. Good night.

9) Christian > Mala > Sofia

dear Christian,

i am strangely moved by the watering cans, i could watch them being discovered forever, like in a loop, as a repetitive dream, only the colour changes. and then the sound is so evocative, slightly displacing, it frames my perception of the image i see. it is the sound that makes me travel and discover the world with u, as if for the first time, and as if through the lens of "an alien" from the wild blue yonder (https://www.youtube.com/watch?gl=BE&v=N5Lh5mD_JJ4). i wonder how do u make the sound, the recorded sound, how u transform it, how does the relation of the sound to the image work for u, what does it do to the image, how it shifts the image or my perception of the image? the sound keeps moving my sense of a fictional "where": it’s hypnotising, then i'm in Hitchcock, then again i'm here now... but constantly moving through different spaces while looking at the multi-coloured watering cans.

thank u! xm

10) Brendan > Lilia > Nicolas

"Close your eyes and tell me which message I'm sending you."

Projections (as in the mind), dreams, imaginations, reflections (as in a mirror), illusions, hallucinations, building the world as we go ..... what do we want to know that hides behind the surface?

Have a nice week end,

Lilia

11) Sofia > Christian > Gerald

Dear Sofia,

I perceived your projected texts as being synchronized, your voice telling a story about water that sounded very allegorical, and then there was the projected text that spoke directly to us and directed our situation as listeners in a (dry) space.

Your spoken text was a reply to, or inspired by, David Foster Wallaces text "This Is Water" that begins with two young fish meeting an old fish and the old fish says “Morning, boys, how's the water?” and one of the young fish exclaims “What the hell is water?”

So I would like to ask you this: How can water be digital, is there any digital effects/incidents/functions that you normally would compare to water? What effects would it have if your computer was flooded by digital water, leaking in to all your folders and open online accounts like gmail, paypal and facebook?

13) Gerald to Mala

Dear Mala,

In your recent bubble score proposal, you invited us to travel mentally through some of our very human depths. In these dimensions, space and time gain seem to gain elasticity.

In the same movement, emotions feel different, get maybe less personal.

Something universal is going on.

How much are these possible bridges between dimensions, important keystones in your practice, and on broader level, in human collective practices in general?

KEYWORDS: Moon~time~insights, as if, here and there,

project

Bubble Score

BUBBLE SCORE SESSION #2 11 January 2016
posted by: Sébastien Hendrickx

20 January 2016

Old Spit...d Spit.pdf

at the extreme...tremes.pdf

wow.endurance....urance.pdf

Ooh desolution...lution.pdf

Cascone Aesthe...cs.pdf.pdf

PARTICIPANTS:

Robin, Arianna, Isabel, Juan, Ricardo, Esteban , Lilia, Yaari, Juan, Anouk, Brendan, Gerald, Varinia, Sana, Agnes, Luiza, Sofia, Aela, Christian, Lili, Nicolas, Thiago

P> Q >R

1)Varinia > Gerald> Isabel

2)Isabel >Yaari > Sebastian

3)Agnes >Esteban > Christian

4)Ricardo > Lili > Anouk

5)Yaari > Robin > Lilia

6)Seba > Ricardo >Nicolas

7)Arianna > Sana > Lili

8)Luiza > Lilia > Thiago

9)Anouk > Sebastian > Agnes

10)Christian > Aela > Aela

11)Esteban > Agnes > Yaari

12)Nicolas > Brendan > Gerald

13)Brendan > Thiago > Juan

14)Sofia > Luiza > Ricardo

15)Lili > Christian > Arianna

16)Aela > Varinia > Robin

17)Gerald > Juan > Varinia

18)Robin > Sofia > Brendan

19)Sana > Nicolas > Sana

20)Lilia > Anouk > Esteban

21)Juan > Arianna > Luiza

22)Thiago > Isabel > Sofia

QUESTIONS:

1)Varinia > Gerald> Isabel

Varinia, in your bubble performance of the second session, you used absurd while very simple verbal and body languages to describe casual physical phenomenons.

If you ever had to depart from there to invent a practice, would that practice be a pretext to use humour as a collective cement or absurdity as a way to challenge our relationship.s to truth? Or a critical practice of truth via humor?

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?

3) Esteban's question to Agnes (Christian replies)

Dear Agnes
Watching your performance, I was very amused by how it was working; the deliberate choice of objects and the design of tasks developed a ‘lets not take this seriously’ kind of atmosphere that became at the same time an expectation of what the setup could engender. My questions are:

What do you think discovering the potentiality of absurdity can generate? What do mishaps as a tool reveal about the actions and the people that perform them?

I also thought this article of the aesthetics of failure might be of your interest

http://www.bussigel.com/systemsforplay/wp-content/uploads/2014/05/Cascone_Aesthetics.pdf

4) Lili question to the performance of Ricardo (replied by Anouk)

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)

Anouk's reply with a performance. Here is the text written after the performance

What stays of my performance for the Bubbles score #3

I stand up and ask people to follow me to the space behind the mobile wall/ corner. I keep the general light shut. There is some light setting from the past, some yellow light from Pierre’s proposal and a blue light coming from the projector on the white wall. I like the coldness of the blue and the warmth of the yellow. I invite everybody to walk in the space for 30 seconds. Then, I ask us to stop and stand on place with the eyes closed. I invite peoples to experience my performance from where they are, from this random point of view. I start to move with my eyes closed and my attention on my skin. What is touching me? I say to people that they can open their eyes whenever they want. I keep my eyes closed. I move in order to give sensation to my skin. I am touched by my clothe, by the air. I am gliding into space, I am not disturbing it, I am air, I am light. Am I visible? Can I feel myself? Can I sustain the lightness, the almost non-perceivable sensation? Do I still exist? I continue moving with my attention on my skin. I open my mouse to say : “ A friend of mine told me that the skin is the most external layer of the brain and the brain the most internal layer of the skin.” Depth is surface, surface is the depth. While travelling, I encounter a body, a person. The back of this person is caressing my hand. Soon after, another person. I wonder what they feel. Do they like the caress? Now, I know that some people are standing close to each other. It is darker here. I imagine that I am close to a wall. I say another thing. Why do I want to speak? Isn’t my physical presence enough? I want to share my subjective experience. Do I want to talk about subjectivity? Is my tactile experience communicative? Can we share a tactile experience? I say: “ in Chinese medicine the skin is associated to the function of the lungs, so to the respiratory system. Lungs and skin are similarly porous.” I am interested in porosity. Sometimes I am not porous enough, sometimes it’s too much. Too much porosity can arm. Can I close my skin? Can something that does not exist be armed? I am somewhere else now. I melt down to the ground. The light is yellow behind my eyes lids. The floor touches me. I think: “ there you are again. “ It is difficult to sustain verticality when my eyes are shut. I encounter a vertical object covered with thick fabric. It is a leg. I let it touch my arm. My whole arm adapts to its form, its texture, its temperature. It let the leg anchor itself; it penetrates the first layer of my skin. Now, I am an outgrowth, a parasite, a mushroom on a tree trunk. My left leg is a bit bent and floats in the air, parallel to the arm on the tree trunk. I say ‘ lets’ see if I can maintain my attention of my skin with my eyes open”. I open my eyes. I see. I let the image touch my retina. I turn my head and see the face of someone looking at me with a really soft open face. I am happy to see that my dance is affecting her. I am glad to see that to be affected by the environment can affect it in return. Receptivity is an action. A revolution? Presence. I maintain my position and talks again:” the gazes are touching me”. I only move my head and see where I am. I say “ The light ….”, the alarm rings. END.

5) Robin asking Questions to the performance of Yari (to be replied by Lilia)

Sorry can't believe I'm doing one of these long questions but I am:

Yari I found your performance kind of fascinating in that the position you took was so ambiguous. By assigning someone else to find you a lover you abdicated responsibility but at the same time were very clear about what you didn’t want - so there was a move towards community, or transindividuality but a constant reclaiming of the position of decision maker- if this was intended to illustrate the ambiguity or impossibility of the question ‘how to realise the idea of Love and life and building a community” then it was effective.

Less clear to me was the talk of falling in love not as an outward act but more as an an internal movement of falling back into the self. I think the ‘falling’ in ‘falling in love’ is unspecified in its direction, neither in nor out or rather potentially either, but I do think it does refer to the fact of doing it with, you ‘fall in love with’ so there is an action that’s an attempt to share, which you again did in your search for a lover. But I feel by treating your search for a lover with such a pragmatic and ’throw-away’ attitude you were attempting to question the desperation and commodification of a contemporary attitude towards ‘falling in love’ but this didn’t quite come off because of the lack of investment (even a momentary one) took the desperation out of the act. For me it became too blasé and what could have been desperate (even with a coating of indifference) became Irony, and Irony, for me, only succeeds in detaching us from the question. I think we may be consuming fast and without much thought but I think we certainly are ‘desperate’ in our search, driven by the the idea of somehow becoming whole , completing ourselves through the other. For me this desperation brings up the Lacanian idea of a desire that has no object …”simply the wish to perpetuate itself ad infinitum, in the dialectical movement from one signifier to the next signifier, between things but also the movement itself, the metronymic slippage from one object to the next. The desire in the gaze of the other, the pure desirousness, the looking itself. The lost object, the thing that was once conceived as part of the self becomes the other, the ghost of the original which never was”.

This refers back to another point you bought up which was the idea of time, the arrow of time, and whether it produces language or the other way around. I lost the connection a bit here but I thought it well illustrated in the Tinder apps arrow system, though I didn’t quite get the connection between language and ecstasy. Here I I thought of Terence McKenna’s book ‘Food of the Gods’ where he talks about language coming out of the experience of ecstasy induced by our historically symbiotic relationship to Psychedelics, and how our quest for reproducing this experience of ecstasy is the driving force behind our addictions to ‘Love’, ‘materiality’ and any substance or object of desire.

Finally about the performance at the end when you didn’t seem to want to illustrate or answer further, a sort of refusal. I found this very intriguing and wondered whether it related to this pre-self consciousness, pre-history moment, when we didn’t have language.

So my question for you is twofold:

What do you think the relationship between language, love and addiction is?

How can the refusal to speak be an act of radical change?

6) Sebastian > Ricardo > Nicolás

Through substances containing certain subjects, we witness the emptying and deformation of being. How would you fill an empty body? What will you put inside of an empty body?

7) Sana Asks Arriana , Lili replies

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!

8)Luiza > Lilia > Thiago

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?

9)Anouk > Sebastian > Agnes

Considering the depth of the ecological crisis, what does our world need more: sacralization or profanation*? Or none of both? And why?

* According to Roman law, objects that belonged in some way to the gods were considered sacred or religious. As such, these things were removed from free use and trade among humans: they could neither be sold nor given as security, neither relinquished for the enjoyment of others nor subjected to servitude. Sacrilegious were the acts that violated or transgressed the special unavailability of these objects, which were reserved either for celestial beings (and so they were properly called "sacred") or for the beings of the netherworld (in this case, they were simply called "religious"). And if "to consecrate (sacrare) was the term that designated the exit of things from the sphere of human law, then "to profane" signified, on the contrary, restoring the thing to the free use of men. "Profane," the great jurist Trebatius was therefore able to write, "is, in the truest sense of the word, that which was sacred or religious, but was then restored to the use and property of human beings." (Giorgio Agamben, What is an apparatus?)

10) Christian > Aela > Aela

Give an exemple on how sound plays in the process of letting the subject narrates itself !!!

11) Esteban > Agnes > Yaari

dear esteban,

one day after your proposal I read this lines which made me think of the interaction of chairs and the relation between them and the sound:

“… in a world where things are continually coming into being through processes of growth and movement – that is, in a world of life – knotting is the fundamental principle of coherence. It is the way forms are held together and kept in place within what would otherwise be a formless and inchoate flux” (Tim Ingold, The Life of Lines)

how do relate to making and unraveling knots?

12) Brendan questions the performance of Nicolas (replied by Gerald)

Nicolas

I liked your performance with your machines. or perhaps rather, your machines performance with you.

Frankensteining " This is not what i programmed! "

I felt like you created a back door vortex into a neo-world, somewhere between a human dimension (a reality governed by humans) and a computer dimension (one governed by machines), with both exerting their desire for expression and autonomy. This shifting of dimensions illustrated by the time sequence that slowly twists into a distortion as it counts down and out … A humorous space where languages miscommunicate and everything is caught in a loop of failure and sense/nonsence. To quote my first filmmaking professor, "The only thing you can count on with technology is that it will fail".

This makes me question, in regards to working with technology:

Imagine, everything is done properly, everything should be working just fine, it has operated smoothly this same way 99 previous times, there can be no possible accounting for any possible error, but yet - the unforeseeable happens - meltdown. Can this fouling up, this failure actually be a sign of artificial life? A sign of these objects, these machines exerting a kind of free will?

https://www.youtube.com/watch?v=mvLgvychb18

Rather than answer this deeply speculative question for me, I was hoping to ask you if you could, with all your tools, take us even deeper into this neo-world that I described and was performed for us, so that as a group we could consider its implications as we embody the in-between dimension. Can you create the conditions for the allowance of this A.I. to surface in our laboratory ?

13) Brendan > Thiago > Juan

I liked very much the presence of the mundane in your mythical
discourse: your god is a cleaner, not so comfortable with his
equipment.

But you also present us a world where the creator wants back
everything he once gave/offered/created. The cruelty of this figure
reminded me of Kronos and Shiva, gods of the destruction. Shiva, as
far as I know, is also responsible for creating new worlds while
destroying everything, through this dance called Tandava.

https://www.youtube.com/watch?v=fJnfPLAMTmw&list=PL90E1CE7180CB8874&index=2&spfreload=10

What is the importance of destruction in your practice? What are you
currently digesting?

14) Luiza to Sofia (reply Ricardo)

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....

18) Sofia's question to Robin (reply Brendan)

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,

Sofia

19) Sana > Nicolas > Sana

Dear Sana

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?

REPLIES:

10) Christian > Aela > Aela

Hello, Ladies, gentlemen and others...

Tonight I am gonna give you an inter-galactic waltz lesson !!!

Waltz was born in germany, in the late eighteens century ! It was first considered as the most sexual dance ever in opposition with group dance practice such das menuet... A dance in which one partners are allowed to touch each others and even more to enter in rotation together !!!

Waltz is a three times tempo dance ! Giving this specific rhythm of each beat waiting for the next one...and in between : the void, the intergalactic void !!! Every beat resonates and exhausts its sound waves into that void till the next beat and so on !!! Here it is about gravity, relativity or if you prefer Attraction !

Every beat creates a circular deformation of space-time exactly like the sun does ! This geometrical deformation of space-time is what makes the earth and other planets turning around it : our galaxy and the universe itself are a gigantic inter-galactic waltz !

Every beat enter in vibration with your inner body, activating your deepest organs... causing your deepest orgasm...

In every waltz there is this little breath... the beat goes down..it is disturbed by the apparition of an asteroid coming closer to the attraction field...it is called a balade, a walk... or if you prefer a little flirt... It is just a breath...soon, the rhythm starts increasing again and the movement of love goes back again to its rotation !!!

To love is to dance waltz and to dance waltz is to be individually universal !!!

11) Esteban > Agnes > Yaari

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

KEYWORDS: exchange, protocols, stacking, Landscape, fear, sharing, blackapple, gemini, trance, Ambience, locomotion, circle, subterraneous, strict minimum, brainwashing session

REPORT:

The key words remind me of ‘ The Return’. I have watched this film several times and it is still discovering for me.

Andrey and his younger brother meet their father after many years of his absence. They set off for a fishing trip and end up on a remote Island. The father who is essentially a stranger becomes more mysterious when he starts looking for a box buried somewhere on the Island.

As the movie opens, the brothers are testing their fears jumping in the river from height. This is a threshold to what we see later.

Arianna’s performance made me remember this film. Gerald was also talking about discovering the landscape and the body which is one of the main concepts in the same film. Thus, I think watching this film could be a report from my point of view.

https://www.youtube.com/watch?v=_BMve_sq-o4

project

Bubble Score

BUBBLE SCORE SESSION #5 11 January 2016
posted by: Sana Ghobbeh

12 February 2016

PARTICIPANTS

Isabel, Arianna, Lilia, Agnes, Sebastian, Sofia, Aela, Mala, Esteban, Robin

QUESTIONS BY

PERFORMANCE > QUESTION > REPLY

1 Sofia > Lilia > Arianna

2 Isabel > Arianna > Robin

3 Arianna > Isabel > Esteban

4 Agnes > Esteban > Isabel

5 Aela > Agnes > Lilia

6 Lilia > Sofia > Seba

7 Seba > Robin > Mala

8 Robin > Aela > Sofia

9 Esteban > Mala > Aela

10 Mala > Seba > Agnes

BINGO!

QUESTIONS

1)Sofia > Lilia > Arianna

In Sofia's score the words became the real and the real became the words. It was a mise-en-abime that caught the moment of the moment. An enhancer of what is there and not perceived at first instance, or too known and ordinary that it gets lost. An invitation to pay attention and re-imagine the 'we' we are in that moment. The text, the reader, the group, the room, the other. Certain scores are tuning devices, they create reading parameters for the moment. One writes and reads simultaneously the moment. I find them fascinating, time openers. Was thinking about art strategies that bring us to the present time, to the self and the group, and what do they do terms of responsibility for both the one and the group. I would like to invite you to develop on this issue. Looking forwards to read you!

2) Isabel > Arianna > Robin

Dear Isabel,

it is always a pleasant surprise for me to attend to your proposals. They bring a burst of fresh air, creating the space for both disruption and intimacy.

It is this combination that interests me the most. A strong frontal approach on themes that we most likely wouldn't talk about otherwise in a group, and the simultaneous capacity to create a space for sharing a certain kind of intimacy.

I see the approach to this intimacy that your propositions bring about as characterized by an activist and militant spirit.

You (one) DIY, you (one) can take things into your (her/his) hands and experiment with them, without forgetting about the material they are made of, and the special care each material requires to be handled with.

In other words: the opening of a space where intimacy is possible in a public way. Even, it is directly born in a public way, and shared, without losing its specificity.

My focus is then in this possibility for activism to be intimate, and for intimacy to be absolutely disruptive, poweful and re-generative, in the sense of the possibility for it to be a tool and a performative situation where to create change not only for the one, but also for many.

2 connected questions:

How to combine activism and self-care?

How to be a wrecker and a flower at the same time?

3) Arianna > Isabel > Esteban

Visibility and invisibility... presence and shadow, light and darkness, a quest of the opposites and in the middle permeable receptors: body and mind mutually observing each other, evidencing a certain spectral condition that binds them together but, that also tears them apart. Is the quality of being spectral inherent to humans and why?

4)Agnes>Esteban>Isabel

Dear Agnes

As I look back on your text/performance I think of gaps... and grammar, my question comes again in the form of a quote:

There will be a writing of the unwritten.

Someday this will happen.

A brief writing without grammar

A writing made solely out of words.

Words without a grammar to support them. Lost

There, written. and inmediately abandoned.

Marguerite Duras, C’est Tout

5) Aela > Agnes > Lilia

Talking upside down about erection has something beautifully desperate and hopeful at the same time. The never giving up attitude affronts the paradox and exhaustion in its quest for the impossible. My question comes along with a song https://www.youtube.com/watch?v=KjW_I-2fARA and I’m curious: what do you think about eroticism in impotency?

I can just think about eating flowers. Old bouquets from valentine’s day. Today is the day! The celebration of impotency I wish it was the one of eroticism. This though made me laugh! I’m referring to the consumerism of love. Also yesterday someone posted on Facebook an article about the origine of St. Valentine day. It says: “Those Wild And Crazy Romans From Feb. 13 to 15, the Romans celebrated the feast of Lupercalia. The men sacrificed a goat and a dog, then whipped women with the hides of the animals they had just slain. The Roman romantics "were drunk. They were naked. Young women would actually line up for the men to hit them. They believed this would make them fertile.” I don’t know… this is possibly both eroticism and impotency in a dance macabre.

Eroticism is potency. Eroticism needs response I believe. Impotency is no response. And there we start.

I would like to respond with a letter I wrote to my best friend based on a text by Jean-Luc Nancy : “Stirring stirring up, uprising.”

Brussels, 4 February, 2016

Dear S,

I've been wanting to write this letter for some time. We are so apart. Many kilometers separate our physical bodies and though I always feel you are so close. Friendship is an opening to the outside.

Thinking about my work and wanting to be in touch with you about it. In relation to life, work and love, I feel I am propelled in between motion, agitation, desire and rebellion. Restless. A being alive that doesn't want to stay still but persists in touching and being touched by the world, that wants to alter it, not with the intension that it becomes something fixed but as a challenge my physical and moral senses. Almost as a paradox this state of mind implies a strong responsible relation to the other (being the other also the non-human other), so somehow it enters the domain of ecology. I feel weak sometimes because too driven, too hopeful engaging in the believe that movement is the only condition of all. Too much expectation I guess.

The movement that there is, is the movement of (e)motion, the one that mobilizes one towards the other and brings along excitement and exaggeration, brings on the transgression. When I write this I feel the drama queen I can be.

On the other hand I also feel that that restlessness is a state of mind, something I can't get rid off and that wants to join the movement around me. I want to touch! Be in touch! Be touched! It's like a drug, an addiction, a disease…

Touching shakes up and sets in motion, I think. As soon as I move my body closer to another body (even an inert body made of wood, stone or metal), it feels like I displace it, I move it even if just a tiny little bit, and the other sets me apart, holding me up in a way, I loose myself. Touching acts and reacts at the same time !!!!!. There is no mercy. . Touching propels and repels — impulsion and repulsion, rhythm of the outside and the inside, of ingestion and indigestion, of the clean and the unclean. It's strong! Am I going crazy? Did I fall in love?

I'm thinking now in the case of a new born baby. When K was born, after being contained inside my body, she reached for me in a survival motion, searching my breast to suck nutrition. . It was one of the most amazing experiences I had. How could she know that I had a breast, that she could suck and that there was milk? She approximates and distances, penetrates and escapes at the same time my body with her body. You know as well as me about this. We both have children, we both bared in our wombs an alien body, feeding from our own blood for later being contained by it. Sucked and pushed away on a motion of relation. An interdependent autonomous symbiosis. An intimacy that is carnal knowledge. The beginning of it all!

The small bodies of our daughters were immersed in our resonating amniotic liquid, that surrounded them inside our bellies. The sounds of our bodies, our heart and our guts, and the sounds of the outside world touched their ears, their closed eyes, their nostrils and their whole infused skin at the same time. The beginning of eroticism. Yet inside there, each possible sensation was still diluted in a dim way, they were too close, in a kind of permanent, quasi-permeable exchange between the outside and the inside.

At birth it all changes, they separated from us, we separated from our mothers. But we still remain this potential thing, floating now not in the amniotic liquid but in the world where everything relates to everything . Yes, everything strains towards everything and pulls away from everything — but now we are separated there is a gulf between one and another. Crisis!!!! The cruel and exciting reality that only a separated body on its own is able to touch. No contact possible without being apart. Out of reason or passion, striving to connect, to exist. This letter is a getting in touch of the reason. I miss you. Miss talking to you!

Thinking about the sense of pleasure in love and sex, the rhythmic movement and overflow, of the bodies spilling against and into one another, and one setting itself off from the other only to take it up and move in again together in succeeding waves. The separation is the opening of the intercourse. Poetic intimacy. The intercourse isn’t seeking to restore a lack of distinction: it celebrates the distinction! Together, apart, in , out. It announces a meeting, which precisely is contact. Contact doesn't cancel the separation - it makes is apparent on the contrary. Maybe here is where it resides the capacity to receive and the capacity to be affected. In that vulnerability. And affection is first of all passion and the movement of passion, a passion whose very nature is to touch. This is all about mutual action, I think, one can't receive passively, one is an active receiving mode per se. I like this idea that receptivity is active and not passive, and that when you touch your are being touched and both parties are receivers. It's an act of generosity, vulnerability and courage. My whole being is contact. My whole being is touch/touching. This is amazing!!

If I say touching is stroking; the caress is the desire and the pleasure to come as close as one can to a skin — be it human, animal, textile or mineral, and so on — and to engage this proximity to play off two skins grappling with each other. This is again a play between the inside and the outside, perhaps the only game there is. Listen, if all playing consists in taking and leaving an area, in opening breaches, filling and voiding places, boxes and schedules, the only game there is is an act of intercourse. Indeed, is there even a desire that hasn’t a desire to touch? Ah, now the world becomes an erotic entity! This is a funny thought!

This means we are open to the outside, open with all our orifices — my ears, eyes, mouth and nostrils, not to mention all the channels of ingestion and digestion, like those of my moods, sweats, thoughts, gaze and much more. As for the skin, it's the envelope around these openings, these entries and exits, which locates and specifies them while at the same time developing for itself this ability to be affected and to have a desire for that. I love the skin. Maybe the skin is the loving organ with all its permeability. It makes us be-come what we are not yet and un-come who we just were.

Now you’d say but what's the relation between body, politics and touch relate?

Well, at the end, it is always a matter of sensible reality, thus material and vibratory. When the self quivers, it really is quivering, just as one may speak of water about to boil. What we commonly call the self is in fact nothing other than the waking and welcoming — both mixed — of motion/emotion. The self is the touched body — vibrating, receptive and responsive. Its response is the sharing out of the touch, its rise towards it. The body rises up! Maybe in here there is a pre-disposition of the body to be political? Indeed, there is some insurrection (and sometimes some erection) in the motions of touching. A body rises up against its own enclosure, against being locked up within itself, and against its own entropy. It rebels against its death. Whether it is about the coming of another (him or her), or the absolute alteration of death, it is the body that opens up and extends outside. It is its pure act!!!

When i am touched, I have nothing to expect: the touch is all act, in its mobile, vibratory and sudden action. And as for Aristotle’s god, this act is accompanied by its own excess, which is its pleasure, the climax that is the flower or spark of the act — sun or dark- ness, always an abyss.

Would these thoughts make the world a better place? Would the sense of love instigate a relational care beyond personal narcissistic achievement?

Hope you like the reading and looking forward to hear back your thoughts,

Love,

Lilia

The song says:

The rings of Saturn are so sexy and Jupiter's got that rad spot! Pluto and Eris are just dwarfs but they get me twice as hot Oh planet forms! The solar system really turns me on! I'm floating through your galaxy, your milkway is all over me! I'd spread my legs for Venus and I'd like to live on Mars I'd take Neptune or Uranus or any of the galaxy stars... Oh planet forms! The solar system really turns me on! I'm floating through your galaxy, your milkway is all over me! Mercury is the hottest being closest to the sun and if that gets you hot you know you are not the only one! Oh planet forms! The solar system really turns me on! I'm floating through your galaxy, your milkway is all over me! Oh planet forms! The solar system really turns me on! I'm floating through your galaxy, your milkway is ah ah AH AH!

6) Lilia > Sofia > Seba

Maybe a mask allows a body to become other. It's such an impressive thing, such a game changer, and it does it so fast. You put the mask on and -damn! who the fuck?-, it works every time. But at the same time that it works, it's still a mask, and not a human body. If you don't wear it and leave it hanging on a nail it is clear, it's just a mask, just the other and not a body. But if you put it on again - damn again, what the fuck?! it's a body again!-. Maybe a mask allows a body to become two: both a body and not a body. It's a splitter. It gives you a super-power, and extra-non-body... I don't know, it's for you to say: What is a mask? And what is the superpower this mask gives you that you think is most interesting for you to have?

Seba > Robin > Mala

Nitrazepam is a hypnotic drug of the benzodiazepine class, indicated for the short-term relief of severe, disabling anxiety and insomnia.[1] It also has sedative and motor-impairing properties,[2] as well as amnestic, anticonvulsant, and skeletal muscle relaxant effects.

Nimetazepam (marketed under brand name Erimin) is an intermediate-acting hypnotic drug which is a benzodiazepine derivative. It was first synthesized by a team at Hoffmann-La Roche in 1962.[1] It possesses hypnotic, anxiolytic, sedative, and skeletal muscle relaxant properties. Nimetazepam is also an anticonvulsant.[2] It is sold in 5 mg tablets known as Erimin. It is generally prescribed for the short-term treatment of severe insomnia in patients who have difficulty falling asleep or maintaining sleep.

Lithium compounds, also known as lithium salts are primarily used as a psychiatric medication. This includes in the treatment of major depressive disorder that does not improve following other antidepressants and bipolar disorder.[1] In these disorders it reduces the risk of suicide.[2] Lithium is taken by mouth.[1]

Dear Seba, I have to admit to not really consciously understanding your performance but there is something so clinical or maybe neutral about the way you list these drugs, And then there is the really representational side of what you did with the drawings. They serve somehow to set up a narrative, which allows me to tell myself a story:

There was a man who was blocked from his memories by a wall

Part of him was stuck in the past

He recited a list of magical ingredients

This became an incantation, the incantation of the dead head

These were supposed to be the keys to a memory that was blocked

The memory was blocked by a failure to be assimilated

This failure was related to lack of sleep

1st he used a potion in a bottle to sleep

Half of the people in the world used this potion to forget

Ultimately It didn't work,

The magical ingredients in his incantation were kept in a red box

The magical ingredients gave him temporary sleep

But this sleep was the sleep of the dead

They allowed him to function but he became a zombie

His head was split in 2 and cut off from the rest of himself

He was a basket case

Please consider this story the question

8) Robin > aela > sofia

Hey Robin,

as I know you would like more feedback, I am gonna try to give as much observation as I can :)

I liked the decalage between what I could describe as an intimate lecture dispositive and the very text which was read. A nice mix between telling a story, a tale and doing it in a formal way...meaning giving awareness of the philosophical side of the tale and challenging imagination in the same way.

Same decalage I could felt by the situation of both characters: being next to each other, responding (in term of tempo) to each other but not really seeing, touching, communicating...just knowing the other is somewhere near you while in the same time, keeping a private and comfortable space.

It was also about interpretation...how each character interprets the silence of the other, the void in between them two...while one thinks it is necessary and peaceful to maintain this quiet void the second wonders if something might be wrong with it...non verbal communication lets space for possibilities of interpretation. The void as the space of the possible...

This issue of interpretation can be found in science...here...meteorology or science fiction...how to rationalise what is seen, observed and how those observations are related to one specific way of perceiving... the limits of perception (here human and something-else-than-human) are also the limits of scientific interpretation of events...

Here comes the issue of point of view...very present in your performance...zooming in...out...at least two different interpretations of the same void, the same non-presence...two different ways of feeling, living and recognising one event (human being perception and observer perception)...plus the song in behind...like a lightly colourful wind that guides imagination of the viewer a bit at side of the lecture dispositive...I felt brought away...in between two possible realities because of that song...

here is my question: Does reality depends necessarily on a common interpretation or the so called reality is never else than a very useful concept we use to hide the fear of not sharing enough, the fear of being alone (in one mind, one body, one universe) ?

Extra question: do you think human being can manage to live with a multitude of different realities (generated by a multitude of different point of view) happening in the same time ?

9) Esteban > Mala > Aela

Dear Esteban,

thank u for yr proposition. i find very interesting the relation between what is represented and what remains invisible (behind the white screen), yet in a way tangible, which affects what we see, what is being performed and what is represented. I am interested in this subtle logic of confluences btw the two (voices, bodies, or states of mind, layers of "text") and how they affect or destabilise each other. It is as if the two phantasmatic frameworks within one person clash. or perhaps it is the friction between ones own fantasy and the invisible other within ones self that always already invades, tackles, influences one's own fantasy from behind the white screen. It makes me think of Zizek in his Pervert's Guide to Cinema (https://www.youtube.com/watch?v=jTcCjNTpecc) where he talks about voice as an "alien intruder" into one's psychic reality, which in psychoanalytic terms is always displaced, cracked open. thinking, about yr performance, i wander what is then this logic of continuous and perpetual displacement and how it generates yr "cinematic" narratives on stage.

xmala

10)Mala > Seba > Agnes

Dear Mala,

I was intrigued by the way you used the technique of visualization. The experiences I had up until now were individual ones, even though they happened in a group context. Your session made us verbalize in front of the group the specificity of the impressions, thoughts and affects that were produced by the interaction between your words and our imagination. By sharing all of this with each other, we could see the many individual differences. You also asked some of us to delve a bit deeper into our imagination, in order for us to be more precise when communicating our impressions. Sometimes it also seemed as if you as the interrogator were looking for something yourself, through the imagination of someone else. I wondered what it was, and if you eventually found it!

But this is not a question Agnes could do a lot with… So, here it is: Considering the importance of knowledge production, creativity and innovation for our contemporary economies, shouldn’t we as artists take a more critical stance in regards to the productive and transformative potential of the imagination (‘elsewhere & otherwise’), a capacity often associated with our practices? Should we redefine imagination as something which is not in opposition with continuity, tradition, situated-ness,… Or define a force which can balance its constructive-destructive agency?

Seba

KEYWORDS

fish, displacement, sex, excitable, particles

project

Bubble Score

BUBBLE SCORE SESSION #3 11 January 2016
posted by: Luiza Crosman

27 January 2016

PARTICIPANTS:

Nicolas, Sofia, Brendan, Nicolas, Christian, Sana, Arianna, Esteban, Thiago, Agnes, Juan, Seba, Anouk, Luiza, Pierre, Robin, Yaari, Aela, Lili, Lilia

P > Q > R

1) Sofia > Nicolas > Christian

2) Brendan > Aela > Agnes

3) Nicolas > Luiza > Juan

4) Christian > Varinia > Sofia

5) Sana > Lili > Lilia

6) Arianna > Brendan > Varinia

7) Esteban > Yaari > Aela

8) Thiago > Pierre > Arianna

9) Agnes > Lilia > Luiza

10) Juan > Arianna > Lili

11) Seba > Sana > Nicolas

12) Anouk > Christian > Pierre

13) Luiza > Juan > Anouk

14) Pierre > Esteban > Seba

15) Robin > Anouk > Thiago

16) Yaari > Thiago > Sana

17) Aela > Sofia > Yaari

18) Lili > Agnes > Robin

19) Lilia > Seba > Esteban

20) Varinia > Robin > Brendan

QUESTIONS:

1) Sofia > Nicolas > Christian

Dear Sofia

following the advise of Juan, I’ll keep myself short this time.

Your teeth - and what they were reacting on - reminded me of these sentences of a Danish guy:

... What a piece of work is a man! how noble in reason!

how infinite in faculty! in form and moving how

express and admirable! in action how like an angel!

in apprehension how like a god! the beauty of the

world! the paragon of animals! And yet, to me,

what is this quintessence of dust? ...

best

Nicolas

2) Brendan > Aela > Agnes

Those black dots made me think about the blind point of our vision: the point located at the exact center of our iris ! Paradoxically, without this blind point we could not see: it is the void of the wheel's hub that makes it roll !!!

"At the extremes, there is freedom" sounds like the peaceful promise, the quiet answer to an unresolvable question...what is behind?...what is after ?...nothing...something else ?

Here is my question: are we breathing ?

3) Nicolas > Luiza > Juan

Nicolas,

During you performance I kept thinking on mobility. First, because it regulated the order of our presentations, since you could not move. Then, because later you could move, and did so the entire night with that boxed-hand, and, finally, because of the short exchange we had where you said that it was funny because you could actually move your index finger around - even if we could not see, or if you couldn't move any other part of your hand.

And then, this image came to my mind, in a maybe oppose process of thinking...

And then I thought on the polyp. growing and taking space and on the confetti spreading and taking space, but both in very different manners, specially in relation to the air around them and, thus, my question is: How do you feel is your way of taking space as you move?

Juan, I really liked you idea of using image, and so feel free to respond directly to it as well :))

4) Christian > Varinia > Sofia

Christian, in your proposition i saw that the silence generated by the impossibility to talk in a fight between 2 people, has a soothing effect on bodies, as if making them somehow docile and devoted to their condition. I was not sure if this condition bind the bodies closer together or just kept them at an unchangeable distance to each other. But i believe to see that this condition doesn't distance the bodies further away from each other. Do you think that this proximity of bodies is created by silence alone or by the impossibility to talk? For instance, how close do you feel to the other bodies while reading a book in a library?

5) Sana > Lili > Lilia

*a cut and a stitch* - both operating on a membrane, both using similar instruments, the act is distinguishing them however from each other;
both small, but insistent
after a while I lose track of which one is destructive and which one is mending in its intention
disruption, destruction turns into a call for change, while the caring sewing becomes the imprisonment
I find it interesting that a stitch can also mean a twinge, a spasm, a sharp pain in the body

my question:
How is/can care be an act of violence?

6) Arianna > Brendan > Varinia

Before becoming the careful breathing pile:
There was a circle drawn on the ground. Where was it that we went when we crossed over the divide from the outside of the circle to the inside. Where did we go ? (And maybe, are there things we could or should do to prepare ourselves for the journey across this divide?)

7) Esteban > Yaari > Aela

ok: the night before the session i was reading Ovid's Metamorphosis (!), in Hebrew, and copied to myself the exact same sentence(!#2) that begins it all:
“I intend to speak of forms changed into new entities".
the Hebrew translation though, says something like: "my soul (/psyche) is forcing me to speak of bodies that changed into new forms".
the differences are a great land of thinking: first in the intention - it shifts the "i" to a place which is a channel, a body or a vessel - a medium which forced by an inner movement to an action, then comes the shift from body->new form, in compere to form->new entity.
in relates to readiness, or to metamorphosis , which thought these differences enable?

8) Thiago > Pierre > Arianna

Dear Thiago,

You introduced in your text a highly interesting matter for me : the octopus intelligence.

I'll let you know asap the content of my research on the subject but I will focus today on your desire and practice of imitating animals.

Gabriel Tarde offers two concepts to explain social movements: imitation and invention. Everyone imitates what s-he admires, what s-he sees as good and able to serve as a model, but arranges by mixing, in an original way, the selected imitations to their plural sources. Thus, history is as a succession of different imitative flows, a succession of models able to give rise to imitations by a large number of individuals. Why imitation? Because Tarde conceives individuals as a large ensemble of reflections; that is to say that everyone sees her/his fellows and in them finds her/himself. It is a game of mirrors that stands at the heart of living-in-society. Constantly, we judge and we are judged, ourselves facing the others and the others facing us. Each one of us comes naturally to doing-like-the-other, so that she/he will recognize her/himself in us and vice versa, for that life-in-society, after all, substantialises consistently and possibly becomes shared common points and not opposed dissimilarities – a set of relationships where even the tendency to opposition becomes common: ‘Two opposite, inverse, contrary things, have, as their singular character, to actualise a difference in their similarity which consists in its very difference, or, if one prefers, to present a resemblance which is to differ as much as possible’ (in L'opposition universelle : essai d'une théorie des contraires, 1897). One can understand Bruno Latour when he identifies Tarde as a precursor of actor-network-theory: one link in an unbroken social chain, the individual finds its place in society through the influential relationships she/he weaves with her/his peers. The basis of imitation and invention, which is a series of acts and processes, is identified by Tarde as belief and desire, which are individual psychological characteristics. "Belief and desire: so this is the substance and the strength, these are the two psychological quantities that analysis found underneath all the sensational qualities with which they combine; and when invention and then imitation, seize them to organize and use them, these are the real social quantities "(in Les lois de l'imitation (1890).

Thus my question is : who do you think you will become by regularly imitating animals and which kind of effect this desire can have on society?

my best,

Pierre

9) Agnes > Lilia > Luiza

When I was reading your text I kept thinking about multiplying, adding, subtracting the numbers 1 and 2… So that one could become two or three or zero, or… So that choice is not binary but a multiple or a fraction, a derivate, of the given… I think that was maybe what was happening in the way you performed the text with the lines crossing each other, creating cross road options … maybe this is the desire for freedom, which at the end does not depend on the choice you take but how you deal with the future of those choices. Sometimes I think choice does not exist.

I was looking for a poem because some poetry is a relief… I wanted to connect to notions of ambiguity and uncertainty and the number three. I found this one by Wislawa Szymborska, which I didn’t know before.

The Three Oddest Words

When I pronounce the word Future, the first syllable already belongs to the past.  

When I pronounce the word Silence, I destroy it.  

When I pronounce the word Nothing, I make something no non-being can hold.

The question is: what happens when I pronounce the word escape?

10) Juan > Arianna > Lili

It's funny to see the links between all this.

I'm very much inspired by the text that you proposed right before your action, Juan.

It talks about a space that it is not accountable through reason.

This resistance of space to reason (and reasonability) is not an act of antiphaty of the former towards the latter.

It's just the gentle and wise refusal to hastily follow the seemengly crystalline, transparent, univocal path of logic.

Space: "No, thank you. I need to take my time".

The labyrinth (the Sensory Space, the Hole) is what requires more than one sense to be used when traversing it.

More than one intention when entered, more than one quality of strength when confronted.

It is a space of the multiple and ambiguous – a space of the resonance more than one of the echo.

It needs intuition, generosity, and a bit of blindness when approached.

The word labyrinth itself resonated in me when I read the text again, because of the name I carry.

Ariadne is the one who knows how to handle the threads, and she knows not by intellect, but by intuition. She doesn't hold on her knowledge, but offers it almost blindly because she fell in love.

This generous act leads her, varying according to the different accounts, either to a solitary death on an isle or to the marriage with the god of Disorder, Ambiguity, Ecstasy and Madness – Dyonisus. Which I personally find two very similar outcomes of the story.

Coming back to the text.. and connecting it to the action you did.

I wonder if my name spoke trough me. If the potential that a word can carry expressed itself through the vessel of the body – through the fleshy materiality of it. Like a sound can pass through and resonate differently according to the material that traverses.

So, I am not speaking language. Language speaks me.

It's not (or not only) an act of the intellect anymore. It is an event of the entire flesh we are made of.

It makes me move, and articulate my full(s) and my void(s).

The mouth, with its full and empty spaces, is the cavity-cave of language; the Hole, the Sensory Space.

The jaw is its instrument and rudder, which then transmits its inputs to and through the passages of the body.

What if we were beings fully conducted by the mouth and the jaw?

What if the apparatus mouth/jaw would be our leading organ?

11) Seba -Sana -Nicolas

I really enjoyed reading the lines , they were silent lines on the black background like the waving breaths in the darkness( as you described).

It was joyful to dive into images you created by those pictorial, imaginary and alive fragments.

I am impressed how you gradually turn detachment to connection, alienation to relation and factuality to fluidity through the rhythm of breaths. When we try to synchronize our breaths we become more aware of our presence. Thus the breaths speak and the skins understand.

At the same time the notion of location is inserted. Therefore, we are invited to a traversal spatiality.

The body could become an in-between space when it’s location is wrapped in it’s imagination. What is the actual location then transformed to?

12) Anouk > Christian > Pierre

Dear Anouk,

one of the sentences you quoted from your (unnamed) friend was this: "The skin is an extended layer of the brain and the brain is an extended layer of the skin". Do you think that means that discourse and material are inseparable because our bodies contains, and can not exist without, both? If yes it's just yes, but if no; does material without any form of discourse exist?
You continued to explain, as you moved around to sense the space towards the ceiling and the floor, what it means to your practice to pay attention to your own self and the materials you were touching. It is important for you (and us, I think) to actively seek out physical knowledge and not take materials for granted just because they happen to all around us.

What are you made of, and where does the energy that makes you move come from?

13) Luiza > Juan > Anouk

Dears

So Luiza coincidentally your drawing session with Arianna was base on my poetic text !

Stroke me a lot how accurate are the dynamics of the drawings related to the word ABYSMAL, they are so near to my images when I wrote the text.

My question will try to dig in Arianna’s question about ABYSMAL seen through the vector - dot drawings of Luiza.

My question is a photograph I took couple of years ago at the Museum of anthropology in Mexico City; the image depicts a terracotta Aztec warrior wearing as a mask the face of a defeater warrior at war which is been totally peel off.

Key words…

- Personification of the soul of the other

- Appropriation of the image of the other

- Cultural anthropophage

14) Pierre > Esteban > Seba

Dear Pierre
Thinking about the journey that you proposed to us on Wednesday, I am surrounded by questions about temporality and subjectivity.
Since we are functioning as mediums, we are called to become a vessel for the presence of the ghost. However, we are not only transmitting the ghost’s ‘message’, but actually, our recollection-impregnation-imagination of its presence.
Furthermore, we are asked to substantiate its presence in the objects, and to
create a new collective presence through their relationality. This new life of the ghost will be solidified in a photograph.

How do you see our function of vessels and at the same time translators of
a fleeting presence? How do we impregnate and singularize our transmissions with ourselves while maintaining our collective function of opening up the past-future? Do we also become ghosts in the sense of loosing our regular contours?

15) Robin > Anouk > Thiago

Dear Robin,

I remember/ imagine, the cracks, the space between the ice blocks, the sharp interruption of the film by some kind of lightning. Is the short-circuit (court-circuit) an important tool in your work and why ?

16) Yaari > Thiago > Sana

Yaari, your language reminds me a lot of Manoel de Barros, one of the greatest Brazilian poets. Not only because of his interest in forests and nature, but because he used to subvert the usual logics of written language, as you do. I see in both of you the interest of finding in nature the metaphors for the exhaustion of language. To write becomes to meet nature.

The Rock

Being a rock
I have the pleasure of lying on the ground.
I only deprive lizards and butterflies.
Certain shells take shelter in me.
Mosses grow from my interstices.
Birds use me to sharpen their beaks.
Sometimes a heron occupies me all day.
I feel praised.
There are other privileges to being a rock:
a—I irritate the silence of insects,
b—I am the beat of moonlight in solitude,
c—In the mornings I bathe in dew.
d—And the sun compliments me first.

my questions:

how to practice the forest in the city ? would it be possible without writing?

17) Aela > Sofia > Yaari

Dear Aela,

Your intergalactic waltz reminded me of this scene: http://youtu.be/_d5X2t_s9g8 (Bela Tar, Werkmister Harmonies)

In the end of the scene, the main protagonist, who runs the village and in this scene takes up the role of a sort of choreographer/director (who performs a similar role to the one you did) says something like: "but It's not over" as indicating that we are still moving according to that eternal and immortal choreography. To him, that dance is a model that represents the movements of the solar system but it also has a metaphorical function in the film: it's an element of transmutation that allows the character's bodies to connect to immortality and to the universe. In your waltz you made references to what I understand as eroticism when describing the movements between our bodies, our relationship to space and music. The dance was a way for us to connect with the cosmos and the erotic connection between us. You made us to dance alone, holding our arms in mid air as if someone was there, but all at the same time and rhythm. What is the importance of the distance you made us keep between us?

18) Lili > Agnes > Robin

When I recall the image of your performance it has a strong physical impact on me. I have to think about poetic sadism or sadistic poetry……and wonder: what is a long-distance touch and what could it stimulate?

19) Lilia > Sébastien > Esteban

Dear Esteban,

I have two questions about love, inspired by Lilia's triple-couple-performance. You can pick the one you like best!

1. Metaphor, George Lakof and Mark Johnson explain in Metaphors We Live By, is a fundamental mechanism of mind, one that allows us to use what we know about our physical and social experience to provide understanding of countless other subjects. Because such metaphors structure our most basic understandings of our experience, they are "metaphors we live by"—metaphors that can shape our perceptions and actions without our ever noticing them. Of all the metaphors for love you can find via the following link (or anywhere), very few refer to long term, complex but fruitful relationships. What would be a good metaphor to describe those kinds of relationships, and why? http://grammar.about.com/od/rhetoricstyle/a/lovemetaphors_3.htm

2. What is the relation between love and mourning? I am not referring to the mourning process following the death of a loved one, but to the role of mourning within a love relationship.

Sébastien

20) Varinia>Robin>Brendan

Dear Varinia

What touched me most in your performance was the way, at the end, you came towards us and made this kind of hesitant ambiguous gesture to the right and left - It felt like a mix between a potential indication of direction or a receiving of something, but it was the vulnerability of the gesture which I found interesting.. (unlike the one below which I include as a visual reference but not a very exact one, sorry)

So the Question is “What’s the importance of vulnerability in your research?

Definition of vulnerability from the Red Cross:
Vulnerability can be defined as the diminished capacity of an individual or group to anticipate, cope with, resist and recover from the impact of a natural or man-made hazard. The concept is relative and dynamic. Vulnerability is most often associated with poverty, but it can also arise when people are isolated, insecure and defenceless in the face of risk, shock or stress.
People differ in their exposure to risk as a result of their social group, gender, ethnic or other identity, age and other factors. Vulnerability may also vary in its forms: poverty, for example, may mean that housing is unable to withstand an earthquake or a hurricane, or lack of preparedness may result in a slower response to a disaster, leading to greater loss of life or prolonged suffering.
The reverse side of the coin is capacity, which can be described as the resources available to individuals, households and communities to cope with a threat or to resist the impact of a hazard. Such resources can be physical or material, but they can also be found in the way a community is organized or in the skills or attributes of individuals and/or organizations in the community.
To determine people’s vulnerability, two questions need to be asked:
• to what threat or hazard are they vulnerable?
• what makes them vulnerable to that threat or hazard?
Counteracting vulnerability requires:
• reducing the impact of the hazard itself where possible (through mitigation, prediction and warning, preparedness);
• building capacities to withstand and cope with hazards;
• tackling the root causes of vulnerability, such as poverty, poor governance, discrimination, inequality and inadequate access to resources and livelihoods.

REPLIES:

2) Brendan > Aela > Agnes

revitalise your personal blind spot

find your blind spot
when your blind spot dissappeared give him new life with a color of your choice
whisper something nice to your blind spot
place your blind spot somewhere in the space

7) esteban > Yaahri > Aela

“I I I I.... inteeeeeeennnnnd to sp...sp...speak of fffff...forms cccchhhhh...changed intoooooo neeeeeew entities” / "myyyyy sooooooul is ffff...ff...forciiiing meeeee to sp...sp...sp...speak offff bo...o..dies that ch...ch...changed intoooo neeeeew ffff...f...fforms”

8) Thiago > Pierre > Arianna

Hoarding
or
caching
in animal behavior
is the storage of food in locations hidden from the sight of both
conspecifics (animals of the same or closely related species) and
members of other species.
Most commonly,
the function of hoarding or caching is to store food in times of
surplus for times when food is less plentiful.
However,
there is evidence that some amount of caching or hoarding is done
in order to ripen the food, called
ripening caching.
The term hoarding is most typically used for rodents,
whereas caching is more commonly used in reference to birds,
but the behaviors in both animal groups are quite similar.
Hoarding is done either on
a long-term basis
or on a short term basis,
in which case the food will be consumed over a period of one
or several days.
There are two types of caching behavior:
larder-hoarding, where a species creates a few large caches which
it often defends,
and scatter-hoarding, where a species will create multiple caches,
often with
each individual food item
stored in a unique place.
Both types of caching have
their advantage.
Most species are particularly wary of onlooking individuals during
caching and ensure
that the cache locations
are secret.
Not all caches are
concealed however,
for example shrikes store
prey items on thorns on branches in the open.
Although a small handful of species share food stores,
food hoarding is a solo
endeavor for most species, including almost all rodents
and birds.
They hoard their food supply selfishly, caching and retrieving the
supply in secret.

(from the definition of "Hoarding (animal behavior)", Wikipedia)

13) Luiza > Juan > Anouk

I am using a score from Anna Halprin, an American dance artist to describe this image to answer Juan’s question. The score is: I see,I feel, I imagine. I like the use of I, the subjective point of view and that the verbs, to see, to feel and to imagine are touching three layers of awareness: the body layer, the emotional layer and the mental layer that is imagination.

I see a sculpture made of terra cotta. I see a head, a terra cotta head, a bold head. I see the head of a baby. I see only one ear, a broken ear. I imagine that the ear lobe was very long before it broke. I imagine that it can break. I see that it is fragile. I imagine it is fragile. I see some shadows. I see holes. I see that the holes have different shapes. I see a big open hole; two small ones next to each other and two other almonds shape ones that are not placed symmetrically. I see a mouth, two nostrils, two orbits. I see there is no eye in the orbits. I see that the holes are not deep. I see another mouth in the mouse and one other orbit in the right orbit. I see a mask covering a face. I imagine someone else face behind the mask. I feel intrigued. I feel that I want to see that face behind. I feel that I want to uncover that face. I feel that I will find another layer behind this layer and another one and another, an infinity of layers. I imagine layers and layers and layers of faces on top of each other. I imagine myself falling into the hole, falling through the mouth. I imagine myself shouting while I fall. I imagine diving into layers of generation. I see that the mouth of that face that I imagine behind the mask is slightly open. I see the teeth of this person. I imagine it is a man. I imagine he is cruel. I imagine he is older. I imagine he is tense. I imagine that he want to appear younger by wearing this mask. I imagine plastic surgery. I see an expression that has been frozen. I imagine death. I imagine that the mask is shouting. I imagine he is shouting because he is in pain. I imagine it is the moment of his death. I imagine it is the moment of its birth. I imagine a rebirth. I imagine his first shout. I imagine the sound of it. I feel mesmerized and terrified. I feel goose bump on my skin. I feel tension in my guts. I imagine this child is my child. I remember his two eyes looking at me from below in the water.

I see the irregularity of the terra cotta. I imagine myself making this mask with my hand. I imagine myself touching the surface. I feel touched by this material. I feel inclined to touch it. I imagine myself making this mask. I imagine the sound of the humid clay while I mold it. I imagine the dance of my hand adapting to the material. I imagine that the clay is molding me. I imagine wearing the mask. I imagine I would be someone else then. I imagine the mask as some power. I imagine that if I wear this mask, I will make a trip back in time. I imagine I will revisit ancient memories. I imagine myself diving into the abyss of my memories. I imagine reliving my ancestors, my previous incarnation. I feel scares of becoming the cruel man if I wear it. I feel the sensation of the mask on my face. I feel it is cold. I feel that it does not fit. I imagine myself moving the sculpture to see it from another angle. I see the point of view of the photographer that took the picture. I see blue grey background. I imagine that the camera is Iike a mask. I imagine it is another layer in front of the face of the photographer. I imagine the photography as a mask, as a layer that covers something else. I imagine the photography of the photography of the photography. I imagine a “ mise en abyme”. I feel myself looking for what is behind. I feel myself wandering if there is anything behind. I feel myself wandering if there is anything at all.

20) Varinia>Robin>Brendan

So what I would say is that, in a way, there is nothing to see,

nothing really, there’s nothing to really see, if you are looking at it, as you do.

“Look there’s nothing to see. Look what you see is so real.

Look, if you don’t look you’ll make your own expectations,

you’ll make your own desire.”

“It is as if I opened my shirt, my shirt at the door of my bedroom, saying leave me alone,”

(silence accompanied by time)

(taking position in the recline)

“You bastard looking at me crying. I won’t give you a tear.”

“I won’t give you a single tear.”

“you watch the painting”

“and I don’t believe you, you mock- this illusion”.

Illusion.

“There is nothing to see, pass your way,”

“ l’indécence du regard, est de plus en plus morne.

Tout cela, à beaucoup entre vous donne les cornes”

The indecent look becomes increasingly more and more bleak.

All this gives you a lot between the horns-

“and you will never say hi to puberty the same way again.”

“L’ indecence a voir avec la mort des larmes”

Indecency even with the death of tears.

(sounding and speaking more gentle)

“And I tried, I tried, I tried-

to say that things can be hidden. Not for the good but for the highest level.

I know that I didn’t do so many things at the end. But I still think I did too much.

I have the time to think, I have the time to discover, I have the time to touch, I have the time to untouch, I have the time to detach, I have the time to”-

“where as polite or not-

and grey in the silk ground

of flower bond

b-o-n-d.

for thinkers shouldn’t be so much. (so many)

they are confusing the whole(hole)-

structure."

18) Lili > Agnes > Robin

what is a long-distance touch and what could it stimulate?

Light-Touch

“It is possible that we are rare, fleeting specks of awareness in an unfeeling cosmic desert, the only witnesses to its wonder.

It is also possible that we are living in a universal sea of sentience, surrounded by ecstasy and strife that is open to our influence.

Timo Hannay, publisher

the term light sometimes refers to electromagnetic radiation of any wavelength, whether visible or not.[4][5] In this sense, gamma rays, X-rays, microwaves and radio waves are also light.

Like all types of light, visible light is emitted and absorbed in tiny "packets" called photons and exhibits properties of both waves and particles. This property is referred to as the wave–particle duality.

https://en.wikipedia.org/wiki/Light

We are dead stars looking back up at the sky, the Iron in our blood and all the elements that make up our bodies were created in a Supernova explosion.

As Humans we tend to think of the stars as eternal, but the stars will all burn out someday, there's only a certain amount of stellar fuel- Hydrogen, and the Stars are burning through it, and the stars, as we know them will all eventually die out, (in some trillions of years), and the universe will be dark for the rest of time.

We're actually living in a potential Eden right now, in a time when this 10 billion year live thing 'the sun' is pouring down free energy, we are using it , we are evolving, we are becoming sentient beings who are able to look back out at the universe from where they came.

Starlight will only be there for the shortest span of the universe's history and then everything else will be dark, someday I wonder if people will have myths about the days when stars rained down free energy and sunlight on the planet."

Nasa Astronomer Dr. Michelle Thaller.

http://www.boreme.com/posting.php?id=40047#.Vq-PNUtnGDU

Hang on this connection is breaking up
You are only coming through in waves
Your lips move but I can't hear what you're saying

When I was a child
I caught a fleeting glimpse
Out of the corner of my eye
I turned to look, but it was gone
I cannot put my finger on it now

David Bowie/comfortably numb

physicists brought light to a "complete standstill" by passing it through a Bose–Einstein condensate of the element rubidium.

The popular description of light being "stopped" in experiments refers only to light being stored in the excited states of atoms. During the time it had "stopped" it had ceased to be light.

https://en.wikipedia.org/wiki/Light

Touch: embrace, lick, palpation, stroke, feel,

Touch:pat, fondle, hit, tactility, touching,

Touch: petting, push, caress, taste, kiss, rub, taction,

Touch: stroking, scratching, hug, blow, grope, feel , peck

Touch: to put the hand, finger, etc., on or into contact with (something) to feel it:

nce.com/browse/touch

Touch: one of the five senses along with taste, smell, hearing and seeing, is defined as the act you do when you hold, caress, feel or otherwise encounter something with your hand.

Touch: to lay the hand on (a person with scrofula), as some kings once did, to effect a cure

Touch: to arouse an emotion in, esp. one of sympathy, gratitude, etc

http://www.yourdictionary.com/touch#JSV8WyareZKbTFwD.99

Touch/ Somatosensory System: Pain receptors: nocireceptor. "Noci-" in Latin means "injurious" or "hurt”. these receptors detect pain or stimuli that can or does cause damage to the skin and other tissues of the body, tissues of the body.

Touch: There are over three million pain receptors throughout the body, found in skin, muscles, bones, blood vessels, and some organs.

Touch: Pain receptors can detect pain that is caused by mechanical stimuli, like cutting into the surface of the skin with a knife, thermal stimuli, like burning the layers of your body with a blow torch, chemical stimuli - like swallowing a poison and emotional stimuli, like having your heart pierced by another.

RobinAmanda

Touch: When you were born, oxytocin helped expel you from your mother’s womb and made it possible for her to nurse you..As a small child, you enjoyed your mother’s and father’s loving touch because it released oxytocin in your body

https://www.psychologytoday.com/blog/the-mind-body-connection/201309/why-we-all-need-touch-and-be-touched

Touch: sensory neurons are triggered by specific stimulus such as pain, for instance. This signal then passes to the part of the brain attributed to that area on the body—this allows the stimulus to be felt at the correct location.

https://en.wikipedia.org/wiki/Somatosensory_system

Sound bed for text: Soy el punto negro que anda.m4a.download

KEYWORDS: goo, internal communication, sensible mass, timing, two, materiality, skin, Imagination, flux, fusion, bite,

REPORT: It's exiting, we are getting somewhere different from where we had started. Starting next Wednesday we will be cooking for each other. We are asking questions to each other that we would never be asking otherwise, pulling potentialities out of each others proposals. We are stepping out of what we knew, of what we felt was our own interest. Isn't it exiting when suddenly we find ourselves liking things we would never have expected to like before? Isn't it surprising to be all of the sudden disliking things you would've thought you already loved? Yes, I feel it changing, it's coming, we're are stepping into something beautifully complex! Oh, it's exiting, we are stepping into strange fields! Oh, so exiting, these dangerous fields that soon we might call common ground!

project

Bubble Score

BUBBLE SCORE SESSION #4 11 January 2016
posted by: Agnes Schneidewind

03 February 2016

PARTICIPANTS

Isabel, Agnes, Esteban, Christian, Lili, Anouk, Robin, Lilia, Arianna, Aela, Brendan, Juan, Luiza, Sana, Tinna

P> Q >R

1) Isabel > Aela > Juan

2) Esteban > Sana >Tinna

3) Arianna > Christtian > Esteban

4) Sana > Luiza > Lilia

5) Luiza > Anouk > Sana

6) Christian > Brendan > Christian

7) Anouk > Lili > Luiza

8) Brendan > Juan > Agnes

9) Lili > Isabel > Aela

10) Agnes > Esteban > Arianna

11) Juan > Tinna > Lili

12) Aela > Lilia > Isabel

13) Tinna > Robin > Brendan

14) Robin > Agnes >Anouk

15) Lilia > Arianna > Robin

QUESTIONS:

1) Isabel > Aela > Juan

Isabel, in your performance, you set up a space with a candle and a pendulum while reading a text that sound very precise in a scientific way. I then wonder how do you relate science and mystic in your work...

Here an extract of one of my former text : ‘ d’une étrange manière il me semble que la science - dans l’impossible dépassement de ses limites - finisse par regarder en. / ' in a strange way, science – ceaseless facing its inability to reach boundaries – ends up looking toward '

This sentence is for me the metaphor of the endless research of knowledge, the endless will to know... And at some point when this anxious infinity reveals itself to the researcher, the only peaceful answer he/she can draw, takes the aesthetic of the mystic.

Here is my question: in regard of emotional truth, is there, at the end, any difference between scientific and mystical knowledge ?

2) Esteban > Sana >Tinna

dear Esteban

What you created as a stage for love, loss and time, is infinity.

A circulation with no beginning and no end, a loop, an endless abyss, a lifetime process of gaining and losing, birth and death.

You insert colors to this infinity, yellow, blue, green, purple....

Also the words are there and the silence, the hesitation and certainty, the memory and desire,

What covers the distances?

3) Arianna > Christtian > Esteban

Dear Arianna,
part of the question you were answering was:
“Who do you become by imitating animals and what effect does it have on society?”

Your slide show told a story about gathering food, catching behaviour and solo endeavours of rodents and birds. These creatures are so small that they can live inside a regular human meal.
Considering taste, texture and durability; what kind of meal would you like to live in?

4) Sana > Luiza > Lilia

Dear Sana,

Your works always take me somewhere else, I always feel in an ancient something, even when you use the latest geo technology, there is something about the way you propose things, your connection to your language, memory, that triggers me into a nostalgic sadness, not really sadness, but I always fell kind of blue afterwards. During your performance I kept remembering myself of the places in Rio which have nature related names, and a few of them the same names you read us, and thought it funny that if I was to tell you about them, of course we would meet each other in the English language. And so, different streets, in very different places, meet each other within language.

I’m not sure what I want to ask, if it is “what do you think is the story behind displacement”? Or, if it is “are we always wanting to be in two places at the same time"? But I guess that maybe these two questions can meet somewhere, so I'll let Lilia take us forward here :)

x

Luiza

5) Luiza > Anouk > Sana

Dear Luiza , when I saw your proposal, I immediately thought of an old french movie 'Le passe muraille' from Marcel Aymé. My question is an extract of this movie. It's in french. I like that you don't speak the langage and can only get information from the images, body langage, expression and sounds . Enjoy, Anouk

[embed]http://www.youtube.com/watch?v=Sir3rG5AW5Q[/embed]

6) Christian > Brendan > Christian

It worked. Q and Captain Picard's answer to Hamlet. During the bubble feast, i asked you a bit about the ShakesTrek text that you presented and read. And you let me know that your father lives very near the castle wear Prince Hamlet in Shakespeare's play was said to have lived and the great tragedy takes place. In fact you can see Kronborg Castle from your father's window, placed strategically on the extreme northeastern tip, at the narrowest sound between Denmark and Sweden. I can picture it easily, simultaneously sinking and rising in the mist and taking its forms in the changing sun and moon lights.

The castle has been immortalized by fiction.

Christoffer_Wilhelm_Eckersberg_-_View_north_of_Kronborg_Castle_-_Google_Art_Project

I wonder if when you look out your father's window if you are even interested in this castle? Or if you find elements of this view, this landscape, that are richer and more interesting, and maybe hidden by its presence?

With your interest in landscape and sound. I wonder what this place could sound like, given your tools for video and music. Perhaps a score.

I return to the geographical description of this setting for the specificity of my question: it exists "at the narrowest sound between Denmark and Sweden". What is this narrowest of sounds, that makes up the common ground between your Father, Hamlet, Sweden, Denmark, marked and protected by the castle.

7) Anouk > Lili > Luiza

Inspired by the following few lines from Nigel Thrift´s writing on affect and thinking of the filling aspect of your score - filling that head and mask with your projections through observations, perceptions, imagination:

„Formed, qualified, situated perceptions and cognitions

fulfilling functions of actual connection or blockage are the capture and

closure of affect. Emotion is the most intense (most contracted) expression

of that capture – and of the fact that something has always and again escaped.

Something remains unactualised, inseparable from but unassimilable to

any particular, functionally anchored perspective. That is why all emotion is

more or less disorienting, and why it is classically described as being outside

of oneself, at the very point at which one is most intimately and unshareably

in contact with oneself and one’s vitality. . . . Actually existing, structured

things live in and through that which escapes them. Their autonomy is the

autonomy of affect.

The escape of affect cannot but be perceived, alongside the perceptions that

are its capture."

this is my question: How do you manage affect in your work or relate to it - more straightforwardly - what is it that escapes and is unactualised within you research - purposefully so - fabricating that escape or without your direct control?

What is the relation between how you perceive affect and how you transmit it to your audience?

8) Brendan > Juan > Agnes

The question develops as a code - contribution to Brendan’s Image by adding more images and words…

A.Etant Donné by Marcel Duchamp

B. A random image that Google gives when you type “Histoire de l'œil” by Georges Bataille

The word Acéphale

Departing from a fragment of the text presented by Brendan…

“Where as polite or not

and grey in the silk ground of flower bond

b-o-n-d.

for thinkers shouldn’t be so much.

(so many) they are confusing the whole(hole)- structure”.

I would like to ask you also with an iconic Image

What dust means in your practice?

Dust Breeding, Man Ray and Marcel Duchamp, 1920

9) Lili > Isabel > Aela

Dear Lili:

Itchy sensations arouse in my theets. My tung was reading invisible stuffed letters. Yet, my voice was fenced, replaced by visceral sounds, feeling congested. How much are congestion and viscerality intertwinged in your practices?

10) Agnes>Esteban>Arianna

Dear Agnes,

After your text/performance, I have a somewhat enigmatic quote and an image as questions:

"You never look at me from the place from which I see you" J, Lacan

11) Juan > Tinna > Lili

Dear Juan. In your video you showed us a dung beetle rolling its dung, without ever seeing a result in its work, or seeing the end to the story of that beetle with its task. It was fascinating and hypnotizing to watch this machine at work without getting the satisfaction of seeing it succeed. To study its techniques and persistence when it was basically a status quo operation.
It reminded me of the fascination of kids ( and some grown ups) watching machines and people at work, at e.g. building sites, or trashmen collecting garbage etc. Why is that a common universal fascination - is it trying to understand a procedure, or to admire individual craftmanship ?

Question - Why do you keep on watching ?

12) Aela > Lilia > Isabel

Aela, on your answer to Yaari last week you stumbled up on the words: "my soul (/psyche) is forcing me to speak of bodies that changed into new forms".
It made me think about speech capacity as an autonomous entity. With not much knowledge about speech I remembered a book by Judith Buttler titled “Excitable speech, a politics of the performative” and stumbled myself on a notion of Austin that distinguishes “illocutionary” from “perlocutionary” speech acts. I think what you did was an illocutionary speech act. You were doing what you were saying. Changing your body and the language simultaneously while seemingly acting under a force or drive that governed you, trying to embody speech. The impossible task of coherence and union. I’m thinking of embodiment as the condition of the performative and performative being exactly what escapes. I’m interested to know Isabel what do you think about this and if this is a concern you have in your practice.

13) Tinna > Robin > Brendan

Tinna, It seemed to me that you embodied the narration of a medium who was acting as a channel between the dead and their relatives and friends in a seance-type situation. What interested me most about the text was the position of 1st person that you took, first as the medium describing how the person died , then becoming the dead person and speaking their words. By embodying their voices it seemed to me that they and you shared multiple realities- The reality of the context created by the medium, the reality of the voice that was being embodied, and the reality of your narration of these voices. It seems that the boundaries of our bodies are permeable and we can be possessed by a voice or voices. But this leads me to question the solidity of everything and what is the territory of a person or thing and their boundaries and is there a common space where all these things are stored. This all reminded me of Rupert Sheldrake’s theory of Morphic Resonance and the idea of a common pool of memories and knowledge. This theory sees the body and the mind not as centres (which can be possessed) but more as decoders, descrambler, receivers of information, information which is held in a common pool/cloud/sphere.

So my question here is: What is the importance of the role of the voice in your performance?

14) Robin > Agnes >Anouk

Dear Robin, I remember the word touch, repeating and commanding a horde of distorted words to pass through the world wide web in order to do what they are talking about: not to be understood but to touch. A long-distance touch that actually not only stretched the spatial distance. Echo and technology also caused a delay, a time displacement that doubled our five minutes effectively, very impressive! What do you think could be the potential of distortion in relation to time?

15) Lilia > Arianna > Robin

The way Focault describes the dynamics of the relationships of power in the excerpts quoted by Lilia made me think about weather forecast.

Immagine incorporata 1

"These relations of power are then changeable, reversible and unstable.", says F.

To me, this means that they are a matter of time - as much as the relationships of care and taking care are.

(taking) care $\approx$ (taking) time $\approx$ power relations

Time is the variable that allows us to think about power and care as entire complex multidimensional and changeable systems of forces.
They are processes. How do they transform? How to capture, even if momentarily, their movements and changes?
I am thinking about the weather forecast as a model to analyse them.
What scheme/function to use in order to process them?
How to register/record their patterns?

KEYWORDS: voice, resilience, "this is strange", flower-bond, death, out of reach, seeking the limits, animal, provocation, childhood

REPORT

project

Bubble Score

BUBBLE SCORE SESSION #10 11 January 2016
posted by: Nicolas Galeazzi

23 March 2016

PARTICIPANTS:

:QUESTIONS BY:

REPLIES BY:

KEYWORDS:

REPORT:

:

project

Bubble Score

BUBBLE SCORE SESSION #8 11 January 2016
posted by: Lili Rampre

02 March 2016

BUBBEL SCORE SESSION # 9

PARTICIPANTS:

Sana, Mala, Sofia, Christian, Agnes

P > Q > A

Mala > Sana > Sofia

2) Chris > Agnes > Sana

3) Sofia > Mala > Chris

4) Agnes > Sofia > Agnes

5) Sana > Chris > Mala

1) Mala > Sana > Sofia

We were supposed to create a poem based on the spontaneous feelings we had while reading the text. The text was about a city, which lasts forever. In this city there is no death, no harm, no loss.

On the contrary, poetry is full of them. Poetry asks for uncertainty. In poetry each word de-creates the word before itself. Poetry is an everlasting change.

That is one of the reasons I enjoyed doing the score.

Dear Mala

I was really fascinated by your score. I found it as surprising as a journey, an exciting unpredictable trip from a city to another.

The act of choosing words while being affected by the illusionary stability of the city in the first text provided me with some random words. I wrote some lines with those words. To my surprise the new lines make another city, so different from the first one. In this new city nothing lasts forever except hope.

Dear sofia

My question is what brings hope to a city and keeps it there.

Bests Sana

3) Sofia > Mala > Chris

Dear Sofia,

In the group reading this time we created a “sound image” or the image of “sound”. I your proposal I am interested in the way a collective creates a virtual image of that for which the text provides the base, which is animated or established by the group through the reading, in this case the sound. In the reading the properties of the present are transformed into an image that’s virtual. So we are here in elsewhere at once. I wonder about what repetition and variations of the texts do. We read together but our texts vary. As we read together, usually when an unexpected variation of the text appears, read by another, I experience a rupture that has to do with my expectation of text remaining the “same” and “one for all”. I wonder what the difference at work in the text(s) produces or what do u want it produce in our individual reading(s) and our collective reading? It feels as if potentially more can be done with it, but I wonder what is that “more” and what impact it is to have on our experiencing and imagining. For example, in what way it nor only creates “breaks” and some sort of “rhythm”, actually a choreography of my/our reading, but also what impact it has on the way the “sound image” is produced?

Thank u! xm

4) Agnes > Sofia > Agnes

Agnes! I had mirrors right in front of my eyes! All I saw was mirrored reality! What strange glasses you created! Instead of seeing what was in front of my face, I saw the space behind my neck, plus one single eye. I felt like a freaky Cyclop! As I walked backwards, I saw myself advancing in space. The usual correspondence between stepping backwards and distancing myself from the space in front of me was reversed. As I stepped backwards, I stepped forwards into space. But not into the space in front of me, oh no! I advanced into the space that was behind me. It's strange to realize how so quickly I naturalized that new order. Strange how my body organized itself around its new mirror-eye. Strangest is that I adapted and very quickly it was operable and almost normal. Are you using mirror-glasses and other devices to try to bring to the surface what's strange within us (in this case the strong alien of normalization)?

5) Sana > Chris > Mala

Dear Sana,

Looking out of the window from the big Apass studio I cant find the end of Brussels. The angle of the view is not as steep as the view you showed us in your video, the light is sharp and cold, not dusty, vibrating heat, and the city seems to consist of boxes arranged on squares, no round walls or towers with hats shaped like tear drops.

I'm wondering if this city scape would generate monologues or dialogues and how we would be able to tell the difference? Who are the characters enjoying this view and how is their language hanging in the air?

All the best,

Christian

KEY WORDS: wordsssssound, deformation, c,o,m,m,a, pace, algorithms of imagination

REPORT:

search

Garou Garou le passe muraille 1951 https://www.youtube.com/watch?v=ruab_pF-qh0

Open Call