February 12, 2008


audience (n)

February 10, 2008

I thought, performing the work would inform us and then we would know if it was a good idea to do it the way we did. But actually, I must say, I am still not completely grasping what was activated, because there is no general opinion, assumption, judgment possible. So many different views. We should open a blog for the audience to be informed about their thoughts. 


February 10, 2008

It is a funny question: how did the performance go? Do I care if people liked it or didn’t? No. Not interested in the likes and dislikes. What do I care about? That it produced movement, of thought, a little displacement of something, discussion, maybe friction. That it stays longer than the time spent in the theater. It might have not been entertaining – or was it – but if something continues with your walking out of the theater, then I am satisfied. I have no idea ‘how it went’ because it went into multiple ways for different people, but I have been surprised by the actual performing of a concept and that surprise feels very refreshing. 

rhythm (n)

February 10, 2008

Making felt the rhythms of those movements and changes. 

feeling (n)

February 10, 2008

Making felt the subtle movements of potential, and the (collective) changes in those movements over time.  

exposing (n)

February 10, 2008

Exposing or making visible: the degrees of people’s needs for spectacle. 

09.02.2008 feeldings (pablo)

February 9, 2008

an israeli woman sits in the bus. she spots someone that looks suspicious and thinks he might be about to blow himself up. she gets stressed, and doesn’t know wether she should get up and do something, wether she should try to tell the bus driver or something like that.

intensities (n)

February 8, 2008

Even though this piece is physically not very exhausting, compared to other works I have made, I have felt it very intensely in my body, more than ever. Last night I could not sleep and my body was running on speed, felt completely coked up. The entire energy of this field of people openly exposed and accessible to everybody in the room is something that is extremely affective. I think I have had energies of 55 people running through my body every night. Becoming a power station or fuse or something like that. It is very electric. 

negotiating power (n)

February 8, 2008

Last night’s performance seemed to become such a space for navigating energies and powers. It is indeed a political space. As simple as our walk is, it is enough of an extra activity brought into this space of potential that it can be felt as imposing. On the other hand, nobody was asked to accept it in that way, to sit still on their chairs, to not add what they wish to add. If we add something, do we add it in a sensitive or in a resisting manner. Do we use predictable codes (whistling, clapping) or do we become collectively creative, producing something new and other. If participants feel the difference between potential and passive arrival on chair as audience, isn’t the making-visible of that process exactly enough?

chairfield in retrospect (n)

February 8, 2008

Isn’t it funny that actually quite a number of people think that nothing else than this chairfield needs to happen. It seems as if for some, any type of additional activity (rhythmic walking) becomes too imposing on the situation, making them turn into passive audiences again. All I can think of right now, I am happy they even become aware of that mechanism. Nobody told them they couldn’t stomp around with us, after all it’s easy enough to do. If anybody feels passive sitting on their chair, they could decide otherwise. Some do, some don’t. Those rhythms through which we negotiate activities, powers, energies…. I find very fascinating. 

being part of it (n)

February 8, 2008

Yesterday a guy walked out of the performance. Later, after the performance had finished, he came back to sit on stage on the same spot, alone. We then asked him what he had thought about the piece. He told us, walking out, he realized he was still part of it, and sitting in the bar he was still part of it, so he really started to like the work, and he came back since anyway, he wasn’t able to leave. 

coin (n)

February 8, 2008

Now seriously, a coin was thrown every night by a different person and did show heads every night. ???

hair (nora)

February 7, 2008

When I woke up this morning and first encountered a mirror, I thought my hair had also been contaminated by polyrhythmic excitement, displacing beat and order towards chaotic mess.

surprises (nora)

February 6, 2008

I have rarely performed in such an undetermined setting. Only for kids. And that was for sure also a wild thing. But in general, even though the work has been very adjustable and open, we could always a bit predict how it would go. This time I feel myself in the middle of a very “live” field of (yes) potential, very social, exposing, exciting, strange. Yesterday it seemed as if this little proposition of walking, which was now really the most basic action we could think of, was such an imposed act to bring in. In fact I felt that no performance other than what it was from the beginning on was needed. On the other hand, people can relax once something is being done. And walking was never meant as something other than “something to be done”. I really want to perform this piece for children. 

listeningwatching, nora

February 3, 2008

What worries me most is that some people talk about this piece as an audio experience. But it is important to me that it is not that, rather a crossfade from visual to audio. A constant mix, confusion, battle between the senses. Do we need to be more visible? 

stress (nora)

February 1, 2008

I guess performing is always a bit stressful. I have the feeling though, walking will be much less stressful than sitting in the chair installation, ha ha. And as long as we think it’s ok to put an audience through certain types of stresses, we should probably also be able to do it to ourselves. Isn’t it very exciting to not know what will happen? And don’t we always, in any case, not know what will happen the next minute, to some degree? 

01.02.2008 (pablo)

February 1, 2008

well… I just find it a bit stressful not to know… but again, I’m just me. can’t help myself, sorry : )


February 1, 2008

That is interesting in itself that you won’t enjoy performing the piece, not knowing which version will be presented until last minute. Why??? It is not leaving it open to chance, it is using chance as an artistic means, it is choice to include chance. 

01.02.2008 (pablo)

February 1, 2008

I understand the conceptual value of the proposal, and I’m full on for not giving the walking piece too much importance. I think being able to resign that piece (or some of its posibilites for performance) in favour of an overall proposition is already a big an valuable gesture in itself. but at the same time I think I feel that we have invested ourselves too much into thought and discussion to, at this point, leave the decision to chance. I want (us) to take that decision. and I also want to make a decision that its supportive of it being performed (setting the right conditions for the piece to be performed): I won’t enjoy not knowing until the moment of the performance wether we will perform or not.

walking (nora)

February 1, 2008

An activity, to satisfy our need for activities. Walking together: a relational poly-rhythmic activity.

chair field (nora)

February 1, 2008

Being together, in relation. 


February 1, 2008

To make that more clear: I meant tossing a coin as a performative act. It’s adding humor + chance and adds another conceptual layer, which I like. Because after all, shouldn’t place too much importance on this walking thing either. It’s just an activity, to satisfy the need for activity. 


February 1, 2008

I don’t think I understood your post. Why fuck off? It proposes that you will always miss something because there is another performance proposition which will for sure not take place. It opens the door back to uncertainty and that I like. After all, we started from chairs and then decided to also work out some type of performance. We didn’t start saying, let’s make a piece on walking. 

31.01.2008 (pablo)

February 1, 2008

then I would say ‘Fuck off’, in the hope that it can be taken both seriously and with humour. I don’t think I would find that very satisfying. tot morgen schatjes

chance (nora)

January 31, 2008

Set up chair field in any case. When audience is seated, throw coin to decide which version will take place (chair field only or walking). My proposal for tomorrow. 

30.1.08 nora

January 30, 2008

It is a very interesting discussion on those potential proposals for different nights. I have to think about what Marcel said, some ideas are nice ideas but maybe they don’t really produce much once you try them out. So I question: when is an idea more exciting than its actualization, when is the idea itself enough (we could also think of an idea as a piece), when should you actually try it out in order to be maybe surprised by the result. We can never know (fortunately). One thing I can say: indifference is not what I am looking for. “What does our doing do” is in the end what we take responsibility for. I wonder if by now we also just simply have an obsession with chairs and lost all objectivity (that anyway). Chair field with lights and sound I find too easy, too romantic and too smooth. And as we already mentioned today, we actually have no time to work it out properly. It’s a piece on light design, and that would require a research of its own. We can always save it for another time. If the walking works with the chair field in the middle is to try out (tomorrow), though I also think that our set up so far is the best we can have. What is nice about chair field set up for walking is, as soon as we leave, they are left to the chair field. On and on. I feel as I am speculating on the stock market! But I enjoy this activity of juggling ideas a lot, it is an exciting activity and definitely a type of art practice.  

29.01.2008 (pablo)

January 29, 2008

though, now that I think about it again, what you propose is more coherent – it draws a clearer line or a kind of progression from one evening to the next one…

29.01.2008 (pablo)

January 29, 2008

just to say that I prefer as an order:
1- footwork
2- bare field
3- ‘cinematic’ field

experiment / nora

January 29, 2008

Yes I like it, 3 different night, taking risk, experimenting, not arriving, testing, observing, learning, continuing. We start more or less conventional and then strip down bit by bit, night by night. Night1: footwork. Night2: chair field with decoration (with past feeding into future). Night3: chair field stripped. 

29.1.08 nora

January 29, 2008

Thank you my dears for being such nice collaborators, I just wanted to say that. Maybe I am getting a bit moody at times now, but don’t take it personal. It comes out like that as part of my concern towards our work. You are fantastic to work with and I am enjoying a lot getting closer to some real performances – sharing things on a bigger scale. It’s exciting!

28.01.2008 paraphrase Hans-Thies Lehmann (pablo)

January 29, 2008

Out of the gaps of language emerges its feared adversary and double: stuttering, failure, accent, flawed pronunciation mark the conflict between body and word. (“”) … since Gertrude Stein’s theatre texts -if not earlier- we have the example of language that loses its immanent teleological temporality and orientation towards meaning…

our stuttering brings our movement out of our bodies, in between our bodies.

28.01.2008 structure (pablo)

January 28, 2008

I’ve been thinking about structure for the rhythm piece. I think sometimes what I struggle with is with being in between no structure and structure, that is, setting some things but not a full score. I feel that then, when we exhaust previously set materials it becomes very difficult for me to jump out of that mindset… in a way, it makes all the rest seem very messy no matter what, it kind of changes the parameters…

I would like to try a run where we structure everything.

mosaic (nora)

January 28, 2008

Throw structure up in the air and see what comes out when it falls back down. This is how I would like to think about composition at the moment. I heard that Gaudi did it like that, let a big piece of glass drop and use arrangement of pieces as they broke to create a window. 

27.01.2008 money back (pablo)

January 27, 2008

it’s been said already, but I like to repeat it – it’s just such a comforting thought:
that’s the festival’s problem

27.01.2008 paraphrase (pablo)

January 27, 2008

To unfinish the work does not mean to leave the work unfinished, but a (coherent?) approach to the idea that a piece is not something presented to an audience but something (co-)created by an audience. To leave the work unfinished does not mean that it is incomplete, but that it goes on existing only in dialogue with an audience, and in dialogue with its next performance, and in dialogue with its next audience, and in the dialogue in between its audiences.

i want my money back (nora)

January 27, 2008

Are we going to get mad about having had to pay a ticket to endure a non-art crap? Are we getting mad about paying for the military on a continuous basis? As soon as the laundromats will be free of charge, art can be free as well. 

a love for product (nora)

January 27, 2008

Fieldings: chair field. The process of fieldings has brought about different forms of material within a similar interest of investigation. We would like to insist on the opportunity for experimentation and difference, even as we start to present certain situations to a theater audience. To leave the work unfinished is not a sign of laziness but a wish for the open-endedness of the performances in relation to each other, and in relation to the participation of the visitor. We are asking ourselves how much the presentation of an art product, any type of planned art product, will create a detour around the proposition that participation in the event and our mutual coming together could be the only content of the work. This is an empty spectacle, where emptiness is simultaneously over-full. We would like to resist the pattern of art having to be great in order to satisfy the art market and its selling-buying-consuming machine. How much product do we need. We are experimenting with degrees. 

sexy loops (nora)

January 26, 2008

What I just wrote about the chair game also applies to sex. It is such a wonderful doubling. And I think we can all refer to it easier than to chair abstractions. It is quite simple: when you touch the other not as another, also not as yourself, but as felt together… when you are able to feel what the other feels as you touch the other, and you feel how the other feels what you feel touching you… I find this endlessly fascinating. It completely fucks with our idea of individual and a physically defined body. It’s a really funky loop. And it is more than just a recognition of relation, or a recognition that the other one is somewhat busy with the same thing you are. It is feeling shared. I am not trying to get at an illustration of relation through sex. I am also not trying to propose this ‘losing yourself in the other’ thing. It is the doubling of perception as relational movement I am interested in. Just imagine you could feel that in everyday life with anybody, not only your lover. Maybe the Dalai Lama can? Wow, now I am sounding like such a love-promoter. Eh, why not. 

temporal relational togetherness (nora)

January 26, 2008

I am trying to think how I could write anything concerning the chair field. Hmmm. So it is a temporarily framed relational togetherness. It is participation and relation as the only content, no other slightest bit of entertainment, be that just something happening, anything happening. We are synthesizing the commonly accepted roles of performers and spectators into a doubled role of performers-spectators=participants. We are all watching, we are all being watched, we are all relating, we are all watching somebody else watching somebody else… as an endless network, and we are all aware that we are being watched by somebody who is being watched… as an endless network. We are all responsible towards the event because any action of any participant makes the situation become what it wants to become. What interests me most is the doubling of perception: I am attending to another who is also attending to something, be that space or another person or her own being there present with own personal thoughts. I am perceiving through another, something. But I cannot be sure of the how, how that other person perceives and what. I am somewhat sure of my own perception of that very moment, it seems like an actualized something out of a big soup of potential perceptions. The other has the same. But me perceiving the other perceiving brings it all back to an uncertainty. This is how I imagine wave potential, super position… 

off dance (nora)

January 26, 2008

Ha, that’s funny. To me it gives a lot of energy, dancing off, or let’s say, it keeps the dance going. Otherwise I get bored, just hopping on the beat. 

26.01.2008 (pablo)

January 26, 2008

I’ve been once more practising rhytmic displacements while dancing in a party, and it seemed a bit easier. it still seems to require a lot of energy, though. there were also moments when the music itself proposed displacements of its own, breaking and re-establishing its own rhythm, and then I felt completely at a loss, not capable to break with nor to participate of it.

25.1.08 n

January 25, 2008

together off

today this tomorrow that .nora

January 24, 2008

This is change. I am changing my mind every day. Today I think this thing urgently needs structure and more specificity. Tomorrow I will say it has to be open improvised play. Oh! But I do think I have to introduce more composition. There are specific games that require specific duration, specific use of space, specific number of people and specific engagement of feet (details of footwork). I get frustrated with myself that I am having a hard time to give it a form. Of course, to resist form is something I generally am supportive of. Nevertheless, I do not want to stay random or unspecific. Clear form conveys clear information, that is something Steve Paxton once said, and others have said in relation to hands on /manual body work. Clear form is really not so bad – especially if everything else is reduced to a nothing. I am glad we start to show things to people. My slight frustration makes very clear to me how to go on working, and what needs to be done. Monday we continue!

something Noha wrote about our visit to the anechoic chamber

January 24, 2008

The anechoic chamber got me thinking about an idea of ‘autonomy of the senses’. How interdependent or separated they really are. The lack of reference in the chamber created such a strong link between sound and body – a direct link with no interference. Watching and hearing Pablo talk whilst turning in a circle was really cool – because it was like watching the sounds, and hearing the turn.  These happened simultaneously with no third element (reflection/refraction). We did talk about this – the idea that you can never be bigger than you are in a space such as that. There is nothing extra to tip the scales of perception. I enjoy this idea of not being bigger then myself, it reminds me of the desire to ‘do’, rather than ‘show’ which is interesting, and which for me at the moment seems to hold far more radical/revolutionary/evolutionary potential than anything else i can think of these days. Action, rather than reaction could be another way of putting this. In the anechoic environment to walk away from a fixed point while talking created a perfect disappearance. By this I mean an exactly 45 degree line on an x, y coordinate map which marks a decrescendo. Or again, a precise relationship between x, y, or in this case between movement and sound, or between space and sound. It makes me wonder about the possibilities for setting up such clear relations, in order to then disturb them. What other relationships could be established in a different kind of sound environment? Like a surround-sound environment where interferences (reflection, effects)  are used but in a logical way by setting up clear relational parameters. One day I want to play in an intelligent sound environment, but being in the anechoic chamber was a great way to strip back to the most direct relationship between body and space that could be a great way to start working towards this. So I wonder… are our senses autonomous and if so how? Why is it that I expect the architecture of the space to resemble / or visually represent the experience? Why do I have this need? Perhaps I assume some kind of organic integration of the senses, where what I see (the walls of the chamber – textured, uneven) relates somehow to what I experience (sound as textured or uneven). I actually found myself searching for a visual connection, by blurring my eyes and then the walls started to look like fuzzy black and white dots (visual white noise). The connection is completely mystical and irrelevant but i was still looking for it. Another strange behavior I noticed in myself: when in the dark alone in the chamber, I found myself sitting and staring at a tiny little hole in the wall where light was coming through. I had to consciously change my position and look away, because it seemed like if i didn’t think, if i just zoned out, i had some kind of of natural inclination towards the only light source. And this in itself was quite an emotional experience (although I realize I was having a quite emotional day). It gave me many associations. To the sensory deprivation used as torture in prisons,  where extra maximum security prisoners are kept in darkness and isolation for 23 hours a day for punishment, only one hour of exposure to the outside or to people or light a day. Why is it that sensory deprivation is so psychologically difficult for humans? The lack of interference or relation to anything else completely skewing or disfiguring our own sense of self/place/time. (But then I wonder about the intentional practices of people who use sensory deprivation as a practice towards some kind of enlightenment – but i do not know much about this). There is definitely something about relations, need for relation that is interesting. It refers to the ideas that we only have a self in relationship to others or in the sense that we are encountered, or met by others or objects. And that this encountering is what provides content and context, rather than an individual definition, which could be thought of as dogma. Where dogma is something that stays internally fixed even in the face of changing external conditions. Even in the isolated and un-interfered environment of the anechoic chamber, sound can be seen as space and vice -versa. These are relationships. I just watched a documentary on animal perceptions and the ability of animals to sense things we can’t usually place within the human understanding of 5-6 senses. I also recently read an article called ‘Empire of the senses’ which argued that affecting people through media manipulation (with fear being the main example_ has become standard political/social practice of control. We live in times where the control of affect is a primary tool of social control. Here again I am referring to things I do not completely understand or have a handle on theoretically, however something about the idea of Empire of the Senses can be interesting for performance which deals very directly with affect and sensation. I am challenged but do not want to be stuck by the idea that any affect is manipulative. It seems tempting to move in direct opposition to what is happening in dominant repressive culture by moving altogether away from creating affect. Wouldn’t this be reactionary? And anyway, whatever proposition one makes, no matter how stripped back or neutral will have some affect surely? So I would rather have a clear responsibility for what kind of affect then to deny the production of affect altogether. … what am i really saying here??? autonomy of the sense? autonomy of anything?

play .nora

January 23, 2008

The second session today made me really happy. Amazing how it all depends just on the state of mind. Open senses, listen, take time for things to unfold. I am glad to decide against structure and for a pretty open field of … potential steps and rhythms. Play. It is so unspectacular. A dramaturgy of comings and goings, growing and shrinking of intensities rather than a curve. Once again: this one will certainly not be a hot product for the market. In that sense very satisfying. I still would love to try it with a DJ. 

doubling .nora

January 21, 2008

There is a doubling of the sound (immediate past feeding into future). There is a doubling of the peripheral layers of space, a multi-deep periphery. There is an endless doubling of perception in the chair field. Walking in the theater as a non-functional activity feels as if it doubles street life. Anybody who gets up from their chair to leave the performance by walking away from it will immediately refer back to it. 

tribune .nora

January 21, 2008

I liked that comment today that moving the chairs from the tribune onto the stage is to displace them. 

20.01.2008 (pablo)

January 20, 2008

temporarily displaced from the internet…
I’ve tried to drop out of synch with the rhythm while social-dancing/partying (last friday, at the Karaoke party in the OT!)… it’s actually quite tough… I felt I only managed by moving like crazy, and it was quite difficult. music can be very imposing. at the same time it gives a clear reference to bounce to. clear reference seems very necessary to produce displacements… something needs to be displaced to experience the displacement.
at the same time, I think I had enough of displacing the displaced during the week, so at the party it also became very enjoyable to just dance to the music…

I’ve experienced also, in the rehearsals, the (amazing feeling of the) beat being displaced out of oneself, not knowing anymore wether one is producing it or not, and kind of losing control over what comes through.

temporal landing sites .n

January 19, 2008

Displacing the step is to land the foot in time. When this activity becomes relational rather than an individual independent choice, it then seems as if the landing site approaches me, rather than me approaching it. I thought I had control over the articulation of my legs and feet; however, once a rhythm between us is established, my coordination is being disrupted and I land differently than I had intended. This is the excitement: differences in landing, displacements in time. 

displacing .n

January 17, 2008

Footwork: we are scratching the material of a normal pedestrian walk. Displacing the landing of a step to just-before or just-after in time. The feet stutter. The mind is skipping and tripping over itself. Marching on the beat has been de-regulated into polyrhythmic play. We are not going anywhere, we are going with. At the point when I don’t walk anymore but it starts to walk, affective intensities of the in-between can be felt as real matter. 

15.1.08 nora

January 15, 2008

Order – mess – order. The arrangement of space is music. Today I was happy to play out other movements than just walking in the end, though coming from work on rhythm, those movements had a very strong rhythmic quality and connection in time. I enjoy any type of drift away from what we are “supposed to” work on. Always afraid to get bored or overdo things. Conversations, music, play with objects and silly activities are welcome displacements of the walk. 


January 12, 2008

I have been wondering if we every will be able to walk normal again? I am even doing it in the supermarket now. Do you think we are short of play? I didn’t have that impression. But we can surly emphasize it more. I would like to experiment with sound doubling this coming week (rhythm relates to rhythm, time relates to time), record and play back footwork sounds. Collected more text. Noticed that since last week I am actually totally looking forward to present something in a festival, to perform, something is starting to become interesting enough that it engages my attention…

12.01.2008 what to do with 3 (pablo)

January 12, 2008

create more relations, create actually more layers of relations: 1 relates to 2, 3 relates to 1 relates to 2, audience relates to 3 relates to 1 relates to 2, audience relates to audience relates to 3 relates to 1 relates to 2, audience relates itself relates to audience relates to 3 relates to 1 relates to 2…

space relates to space relates to space.

rhythm relates to rhythm relates to rhythm.

this is fun fun

12.01.2008 footwork (pablo)

January 12, 2008

I like the bursts of teenage energy that the stepping/stomping brings up every now and then… I think we need to seriously pay attention to the playfulness, and make sure it doesn’t get lost.

my favourite image for the footwork is the stuttering.

Dear Pablo (Nora)

January 11, 2008

I think I am thinking that you are writing almost as good as Gertrude Stein. Just wait until you hear her speak on the recording. 

audience placement ,n

January 11, 2008

Place audience on chairs, in a square around space, facing out towards the walls. Leave space on the outside (a corridor), leave space on the inside (an empty square). Use outside space as peripheral passage, use inside space only as circle. Work with 2 or/and 3 people: 2 outside, 2 inside, 1 outside/1 inside, interruptions by the 3rd. Seems like this way the spectator would have the in and out of the frame view that we have when watching the still frame video. And on top of that we can play with back space experience of presence-sound-absence. And the bicycle… It reduces the spatial work to peripheral passage, inside circle and maybe a diagonal crossing. 

footwork ,n

January 11, 2008

Footwork [displacing the beat, irregularities and rhythmic intensities in walking]. Inspired by break, krump, tap, walk, trip, scratch, stutter. 

to incorporate _d_

January 11, 2008

I didn´t say that the body doesn´t think. Only that through the process (5 weeks) a kind of physicality is being incorporated and in that way the (my) body reacts in a different way (intuition: also as a mind process)

11.01.2008 sinking (pablo)

January 11, 2008

me, I would still like to think that we think. and I do: I still think that we think. and we’ve been thinking a lot, and I think intuition is a form of thinking… maybe a little bit less conscious. maybe a little bit less conscious than the other thinking, that is.

thinking body_n_

January 11, 2008

I would still like to think that the body thinks, whenever moving, whenever playing. Without thinking: is that possible? Remember how impossible it was when we were meditating. 

Intuition _d_

January 11, 2008

I like to observe how the physicalty of Fieldings is coming from the bodies, how we are integrating every game of every day and don´t need to think, just action and reaction, a kind of intuition, ability of the body to know without  reasoning.

s<b spaces, n

January 11, 2008

small space < big space


January 11, 2008

What is composition? Arranging relations?

January 10, 2008



January 9, 2008

Sorry object. Of course you are a subject. More object-subjects: chairs, people of all sorts (including what we call choreographers, dancers, spectators), sounds, rhythms, architectures, thoughts. 


January 9, 2008

The object to be invited as a guest performer might very well be a bicycle. 

text – n

January 9, 2008

Volumes and intensities of spoken text. Rhythms of speaking. Meanings coming and going. Volumes and intensities of walking. Competing. Please stand still so that I can hear what is being said. Stamp and I will give up trying to make out words, my attention goes from double split (text-walking) to single focus (body)……. or maybe multi-mess (listening, seeing, feeling, thinking, becoming with, and so on……..

9.1.08 /n on space

January 9, 2008

Compose space: create rhythm (through space, in space, of space). P.S.: John Cage is my hero.  


January 8, 2008

Displacing the beat through irregularities and rhythmic intensities in walking – with hip hop music. Neither against nor with. Somehow with but not. In between the music and us. 

what to do with 3 |n

January 7, 2008

Work with accumulation (0)-1-2-3-2-1-(0). Work with 2 against 1. Work with duet 2 and at some point exchange the second for another second without giving any further explanation (cast replacement). 

walking on the street ||n

January 7, 2008

Start walking on the street in front of the theater at 21:00. Let people sit down for the spectacle of chair field at 21:30. Continue walking outside. Use wireless microphone to import walking sound at some occasions. Everybody who gets angry at chair field and leaves will still see us walking. Bring warm jackets and rum for survival. 

money ||no

January 7, 2008

If we would buy the tickets one night and people would not have to pay: how would it influence their perception of the work? Would they think it’s crap or would they appreciate it more, would they happily use the saved money to buy a drink for a friend and flowers for their lover or would they just invest it into their next AH shopping 3 halen 2 betalen? What’s the power of money? (I guess I am referring to Jefta’s title “The power of movement”).

nothing-spectacle ||nora

January 7, 2008

I do like the concept of making the chair field a spectacle, a spectacle on nothing. (And of course ‘nothing’ is not true, there is plenty going on to be thought about, but we know that.)

beat beat field . n

January 5, 2008

If I consider irregularities and degrees of intensities in walking, producing rhythm as a contageous viral spread… if this is not practiced to the beat of a music such as in disco dancing but simply in silence, then I would think that the regularity of the beat becomes the imperceptible which can be perceived. A rhythmic field. A total field of rhythm can most probably also be felt, all rhythms that could be but never will be(come, actualized), a wildly multiple chaos of excitements. As long as we keep stumbling / tripping, there will be no arrival but more and more of yet to come. It will keep moving and changing and producing. How is rhythm felt? It is surely a very complex multi-sensory process. It might be a passage in between all senses mixed mixed. A passage between all perceiving subjects (part-subjects, part-objects) intersecting. About to inhale, displaced in time. 


January 3, 2008

About the imagined situations, do we leave open the possibility to do every night of the festival something diferent? It would be also a way to continue the research. It sounds good “buying up all theater tickets with production budget so that people can enter for free”, I really agree with this. Anyway about the other material I suppose that in the coming weeks things will happen for sure, so we´ll see. I also like the idea of  inviting people (maybe also during the rehearsals). For “displacing the beat” I will bring my big heavy shoes.


January 1, 2008

At yesterday’s/today’s party I practiced what I would call ‘displacing the beat’ in order to produce irregularities of rhythm. Or to just produce rhythm as a parasitic/viral displacement of the beat. If one steps always just a bit next to the beat, but not even clearly off beat, that’s a lot of fun! Suddenly party dancing becomes much more creative than a simple tuning in with the steady common bounce. A live DJ is vital. People think you might be very drunk. Irregularities and displacements of the beat in order to produce (contagious) rhythms should be next week’s practice. 

tip for change -N

December 31, 2007

It is not a bad idea to krump it all out, before midnight and after, possibly even in the early morning of 1.1. when everything seems really fucked up and distorted. Old year’s krump / new year’s krump. We can always give it a new name as well, since we anyway can only do the fake version, and since the real thing has been totally commercialized already, as everything else. Krömp? 

quickly before 08 – N

December 31, 2007

Imagined situations: Situation 1: invite a limited number of people to freely play the chair game as we originally did, buy up all theater tickets with production budget so that people can enter for free. Situation 2: set up chair field in squares of 4×90º, fill the entire space with chairs, try to get as much audience as possible, add theatrical lights, durational light changes and import sounds from other neighboring spaces that are located in the same building (via mics). Situation 3: perform irregularities and rhythmic intensities in walking, possibly add modulated version of the chair field but distributed so that audience does not form a singular pack but stays multiple. Situation 4: be radical, for one evening fire the cast (so sorry) and perform irregularities and rhythmic intensities in walking with a tall guest. Situation 5: perform irregularities and rhythmic intensities in walking outside on the street in front of the theater, one hour before the performance is announced in the program (free and available for everybody), then let people buy tickets for situation 2. 

29.12.07 nora

December 29, 2007

I had this idea – since we are left with 3 now – to possibly invite a different person each night for the performances, a guest performer who always adds something new. At least it’s an idea…


December 29, 2007



December 24, 2007

I´m krumping at home


December 22, 2007

“Stable spatial ordering and disruptive eventness. Intensity of experience and extension of it. Perception and action. Object perception and perception of perception. Site-specificity and dispersion. These are not dualities. They are polarities, dynamic orientations in an abstract qualitative map of potential experience.” (Massumi). I was thinking of chairs, positioning, observation – and of walking, irregularities, tripping, rhythmic parasites, disruptive viruses. 


December 22, 2007

good one!

22.12.2007 (pablo) shava

December 22, 2007

in the article “The activist commandments for the new millenium”, Guillermo Gómez-Peña writes a great post-script:
“PS: And one more thing – don’t make the mistake I am making in this text and take yourself too seriously. If you stop laughing, you are dead.”

21.12.2007 (pablo) intermodality

December 21, 2007

these days, the city of Amsterdam can be gorgeous if one manages to cut off intermodal perception. that is, the snow-white city looks very beautiful as long as one manages to forget one’s extremely cold ass.

21.12.07 shortest day of the year, n

December 21, 2007

From observation to intuition. (From chairs to walking.) To stand despite all possibilities to fall. (That seems to be an actualization). This comes from a book by Paul Klee. This and that that this. 

Getrude’s quotes

December 21, 2007

“I say this I change this I change this and this. Now think of the difference of not yet. What do I think when I feel. I feel I feel they feel they feel which they feel.” – Gertrude Stein

December 21, 2007


rhythm rhythm wall rhythm

December 21, 2007


20.12.2007 (pablo)

December 21, 2007

while many of the things we’ve been exploring around perception seem to relate to some sort of “external” stimuli (like the float or the anechoic chamber, or the meditation, which seem to cut off stimuli; or messing up the sense of balance by distorting some sensory input), I feel like when we move we behave in a similar way but being stimulus and stimulated at the same time (or stimuluator and stimulated).
in a sense, these two parts that take place in a communication (me and something else) seem to relate in a different way in both scenarios: in the first one, is more hyerarchical; in the second, since it’s all people and there is a two way feedback, the communication is more horizontal. in this second scenario everything, stimulus and stimulated, belong to the same layer/system, because everyone is both at the same time.

then, as usual, the question that remains is: how to make the audience also part of this same layer/system.

20.12.2007 (pablo)

December 21, 2007

though I don’t need to imitate stepping/movement to synch up with sound rhythm, it does feel that I can’t be too far away from the others in terms of energy or intensity.

20.12.07 nora

December 20, 2007

I have the feeling we are moving towards a mix between Bruce Nauman and Krumping… I like it! Boots have to come next. Stomp, stamp, walk, trip, stumble, skip, jump, suspend, hopp, shuffle, kick, land. I especially like the newly developed horse movements! In the new year I will present you some Nauman and Krump videos.  

19.12.07 nora

December 20, 2007

When does tripping (rhythmic irregularities, rupture of flow) become trippy (drugged excitement, affective engagement), when do we trip together (or trip out of sync), when do we go on a trip (collective togetherness, performance event)?

18.12.2007 (pablo) nog eentje

December 19, 2007

rh thm rh thm rh thm rh thm rh thm rh thm
tripping in the studio.
stuttering on the blog.
tripping in the process.
stuttering all over.
tripping backwards.
stuttering stuttering stut-tering stuttering
rhythm stut-tering rhythm stut-tering rhythm

18.12.2007 (pablo)

December 19, 2007

when walking backwards the moment the wall comes into the field of vision it is already going away from us

18.12.2007 (pablo)

December 19, 2007

I don’t think I understand the idea of the Relation being the Potential anymore… I think there are also relations that are actual, or that there is an actuality created through relations and another one created within oneself (or something like that)…
Maybe I would even think of things the other way around: relations are actual, and there is a potential for different actualities… but fuck, this sounds like potential doesn’t exist at all.
Maybe is something more like relations express potential, or are the actual expression of potential: relations are lively because they don’t mean one thing but all the possibilities in between more things. But then relations are still there, actually.
Today I felt clearly the actuality of relations, and how they take space/focus/attention, and how difficult it is to layer. To keep up with many simultaneous relations is, obviously, difficult. And tiring. Some sort of basic (or previous) agreements seem to support better the communication. I also like the idea of some structuring/degree of setting.


December 18, 2007

Stuttering (‘verbal non-fluency’) is a speech disorder in which the flow of speech is disrupted by involuntary repetitions and prolongations of sounds, syllables, words or phrases, and involuntary silent pauses or blocks in which the stutterer is unable to produce sounds. The term stuttering is most commonly associated with involuntary sound repetition, but it also encompasses the abnormal hesitation or pausing before speech, referred to by stutterers as blocks, and the prolongation of certain sounds, usually vowels. 



trip v 

1. to stumble or fall as a result of catching the foot on something, or to cause somebody to stumble or fall by making the person’s foot catch on something

2. to move, run, walk, or dance with rapid light steps

3. to experience the effects of a hallucinogenic drug (slang)

4. to go on a journey, tour, or excursion

irregularities (n)

December 18, 2007

tripping  . stuttering .

tomorrow /n

December 18, 2007

Will be a very bad day

relations /n

December 18, 2007

I was thinking that there are actual relations and virtual relations, that there is also a total field of relations. Maybe relations are not very graspable. Are they of matter? But I do think that there are actual relations. This is at least how I understand it. We have to ask a relational expert!

18.12.07 n

December 18, 2007

Today was a better day

18.12.07 (m)

December 18, 2007

Really enjoyed watching the 3 of you moving today.

I didn’t know / didn’t care what you were busy with…

It was (just) about play.

suddenly [d

December 18, 2007

I came yesterday from Berlin direct in the middle of the rehearsal. Landing suddenly in the process I could see all of you with the sufficient distant to get an external point of view, and necessary to ask myself things like: what´s going on? what are this 4 people doing in this room? And I would really like to stay longer with this questions. After a while different information of the process came to my mind: I was already inside.

Somehow I like this kind of distance when all the things around are not clear at all and I can imagine what the situation around  is about. Thats why sometimes I don-t like to talk/discuss a lot after the improvisation because then I lose what was pushing me away from the language. I miss sometimes that nobody could talk during the rehearsals.

17.12.07 (m)

December 18, 2007

Today was a good day, indeed.

In relation to the different degrees of setting the piece, I just remembered a discussion with Katie Duck. She said that depending on what you want to play with/study, you set all the things that are not really part of this game/study.

17.12.2007 (pablo)

December 18, 2007

I think I understand the idea of The Relation (with caps) being (in) The Potential (with caps) but then, does it mean that at the moments of actuality there are no relations anymore?

17.12.07 n

December 17, 2007

Today was a good day 

16.12.2007 (pablo)

December 16, 2007

I thought of and brought up (social) dancing not in terms of the event of the performance (and I agree on the fact that what we are working on totally relates to the problem of social events and art products/processes), but in terms of a working tool. When I spoke of energy feedback and focus, I was thinking of physicality as a focusing/motivating/self-manipulative/inspiring/triggering/etc tool for the rehearsals.

by the way, the high pitch sound is still with me…

about dancing / n

December 16, 2007

For sure dancing is a great activity, especially in a club to or against or in-between the beat and with other people. I can only agree on that. Dance other than social dance can sometimes affect through empathy or its relational movements, though mostly there seems to be a rather big gap between performers and audience. Gap could be bridged by a concept that brings it all together. Gap could also be bridged by participation – I mean, if the devision is not treated as a devision, than the gap wouldn’t be there in the first place. Of course I love gaps in general, but maybe not the hierarchical types. Prefer for example time ruptures. I think social dances and art products/processes are still two different stories, and in a way we are dealing with this very much if we consider the chair game. 

December 16, 2007

15.12.2007 (pablo) club situation, observation at a 90º angle through friends

December 16, 2007

observing through friends

15.12.2007 (pablo)

December 16, 2007

going back to movement research sounds good, despite your plans of not going there this time… I’ve been dancing tonight, quite a bit, and besides the high pitch sound that remains with me (and that will probably stay until tomorrow), I also keep this sensation of how movement feeds itself back and how it can facilitate a stream of energy, a certain kind of focus… and the difference that Sher pointed out last thursday between our moving in relation to each other and moving the relations in between us sounds like a good clear starting point and an issue to research that might show what kind of events/movements/actions could have an important role to play in the performance.

I was also having a conversation a few days ago with a friend, telling him about the experience of the anechoic chamber, and we talked about how this experiences seem to be some sort of projection/extreme scenario of what the artistic practice often provokes in us – bringing back to ordinary life a new perspective, a new awareness or attentiveness, a new proactiveness in relating to the world

15.12.07 (m)

December 15, 2007


relative or relational? (n)

December 14, 2007

I would like to investigate the difference between movements relative to each other /or/ moving the relation (moving the interval, the in between). We are definitely lacking relational collective movements. Seems like we will soon be back at movement research, despite my plan to not go there this time. 

14.12.07 n

December 14, 2007

Hearing about CUE was quite interesting in relation to the frame we are working in right now. I am wondering a lot right now about all those production structures that we enter when receiving governmental funding. Do I want to work in those structures? Actually not at all. But at what point do they become restrictive? It is after all not a bad thing to be able to pay yourself and the dancers and still have space and time to create something together in a participatory way. I have always tried to consider it that way: I enter those structures and they are restrictive, they impose patterns, they impose certain expectations of playing in theaters and having income through tickets, presenting a ‘something’, touring that something… Can we still approach that space and time that is given to us in a shared, participatory and playful way or do we let the expectations invade on the process? Sometimes it’s a very edgy situation, other times it works. How can audiences become players and participants of that process instead of visitors to a product? How much will the fact that visitors pay for a ticket invade their freedom of being playful inside that time and space given to them in the theater? Does it all always come back to the question of money being a limit factor, or can we interact on another level? 

s to m

December 13, 2007

I’d love to hear more about where this came from! also a tour of the diagram would be great. I also doubt the possibility/desirability of a common perspective/view.

m to n

December 12, 2007

common perspective …. no, I believe that it doesn’t exist.

how would the meaning change if I said common view? that was the first word that came in mind…

tomorrow, if we all feel like, I will explain where this question came from. it’s rather confusing the way I put it and the words I chose to use.

Thanks for the response…


December 12, 2007

I have asked myself how relation and participation can become the main content of the work.

everything . something . nothing . n

December 12, 2007

When I sat down to simply observe space I realized that ‘nothing’ does not exist, just as silence or stillness might not exist, if you investigate the issue closely. This nothing seems to be in fact an overfull potential of everything. Something is being pulled out of the soup and actualized, let’s say a perceptual landing site. I was really quite curious what you meant with common perspective? Does it exist?

n to m

December 12, 2007

I wouldn’t say that we want to show possibilities of different perspectives. I have an interest in creating awareness of negative prehensions. That would neither be possibilities nor impossibilities but a potential field of the in between in a constant process of becoming. By becoming aware of what your selected conscious perception is (or let’s better say prehension), you also somehow create this awareness for everything minus your positive prehension, and that would be not just the possible but really an overfull potential. 

…maybe this is completely irrelevant (m)

December 12, 2007

…maybe this is completely irrelevant question, but I was thinking:

Do we want to show the possibility of having different perspectives?


The impossibility of having a common perspective?

to avoid the “this or that” way of thinking I made this.


12.12.07 n

December 12, 2007

TASK. This is your chair. At any given distance, place yourself in relation to another person and observe. Change your position in space whenever you feel like it. The performance is over when you decide to leave. 

11.12.2007 (f) you and whose army

December 12, 2007

over my dead body

11.12.2007 (pablo)

December 12, 2007

patterns patterns patterns patterns patterns patterns
patterns patterns patterns patterns patterns patterns
patterns patterns patterns patterns patterns patterns
patterns patterns patterns patterns patterns patterns
patterns patterns patterns patterns patterns patterns
patterns patterns patterns patterns patterns patterns
patterns patterns patterns patterns patterns patterns

look at the pattern

December 11, 2007


extremes? n

December 11, 2007

Is emptiness an extreme? Emptiness? It seems overfull. Empty-overfull. I don’t have a need for extremes or sensory deprivation or saturation patterns. I would say, it all comes out as it does because (probably) I am getting older – ha ha! I wanted to say, I am actually feeling content with the idea of nothingness. Let’s say, nothingness in relation to others. Is that our piece? That type of thinking in my life makes it impossible to create anything other than a simple togetherness as the content of the work. If we would show anything other than this relational togetherness, we would weaken the concept. What the process might need right now is this contentment, and then curiosity to enter deeply into the details of nothingness. Of course I mean: relational becoming. Nothingness is a strange word, since there is clearly something. 

silence and on /n

December 11, 2007

I wonder what John Cage did next after he had done 4:33?

in what context

December 11, 2007

We sat on Dam square to observe (each other observing), and of course the police stopped by. They asked me, what are you doing. I said, sitting and watching. They asked, in what context. I said, in no context. They passed on. 

11.12.07 • n

December 11, 2007

5 – 25 – 250

A draft for a text inspired by Nora’s saturation/deprivation (to be continued, re-arranged and re-thought) m.

December 11, 2007

Maybe the point of putting ourselves into extreme situations is because we had the need to re-experience and re-think the “normal daily life situation” (from Nora’s text “saturation/deprivation”).

A possible thinking pattern appears on the surface:

A situation- saturation of the situation- need for change- change- new situation- saturation of the new situation- need for change- change- new situation and so on and so forth.

I ask my self:

-Why do we need this pattern?

-Maybe this pattern is in itself saturated and asks for a change.

-But, on the other hand, a need for changing this pattern just re-confirms the same pattern.

-Is there another way to think of change?

-And is there another way to think of “form”, of a “situation”, or anything that appears (relatively) stable in our perception?

“But still those actual forms should stay open-ended and changing and unstable in order to re-become all the time. If they don’t re-become they arrive again to the point of saturation and we will feel deprived of change.” (from Nora’s text “saturation/deprivation”)

saturation/deprivation [n]

December 10, 2007

Actually we have only done 2 sensory deprivation experiments (floating and anechoic chamber). Though we could probably add meditation as another. But something makes us feel that we are dealing with extreme situations continuously, no? I think the sense of saturation comes through this navigation along the edge between virtual and actual. Tending towards the total field-ness of anything (sound, vision, tactility, thought, observation, concepts…) seems to come close to the disoriented-ness of sensory deprivation. I have a desire to tend towards those experiences, but they also make me almost car-sick, they produce an urgency to get out and away, to actualize form. They produce an urgent need for landings. I find that very interesting. I start to find another type of urgency for dancing. I start to realize that I have to constantly actualize in order to survive as a human being. Otherwise relations become impossible. Maybe even the act of going to the theater and sitting down on chairs next to other people is a type of actualization that produces relations. To participate in projects such as we do right now is another one. But still those actual forms should stay open-ended and changing and unstable in order to re-become all the time. If they don’t re-become they arrive again to the point of saturation and we will feel deprived of change. 

absolute reference to nothing

December 10, 2007


10.12.07 anechoic chamber (((n)))

December 10, 2007

Surprisingly a very tactile experience. Entering the space, I immediately felt a very uncomfortable pressure on my entire body, especially head and blood vessels. We were told that there is no pressure difference in the chamber compared to outside. Hearing was felt. I sensed the inside of my ears. Heard the sounds of joints moving. I did not hear my heartbeat, but felt the bloodflow. I heard my breath, however softly I tried to breathe. I heard other people’s joints moving and digestive sounds. A very dry space. No resonance, any action dies immediately. We all screamed very loud, but nothing stayed after, the sound cut off abruptly. The sense of relation between people was flattened, space in between was disappearing. I was hyper-aware of all the internal sounds my body is producing. If usually we close our ears for silence, closing my ears in the anechoic space produced noise (internal sounds), opening them I entered complete silence (except for a high vibration resonating in my ears and skull). Switched the lights off: complete darkness and silence. Hyper-awareness of gravity. Played music through loud speakers: sounded as sharp and clear as through headphones. After leaving the space, I was hyper-aware of spatialized sound. Quite wonderful to breathe fresh oxygen. This experience produced a need for the “normal daily life situation”. A need for something not extreme. Not even extreme thoughts or concepts. I am saturated with reflections and experiments. Wouldn’t mind just dancing around. Or eating dinner. 

December 10, 2007


December 10, 2007


wired conceptual chairs. m

December 10, 2007


10.12.2007 (pablo) what is tiredness

December 10, 2007

we go through different experiences of deprivation; we search for environments and infrastructures that allow us to explore the absence of sound, the absence of image, the absence of movement, the absence of time, the absence of verbal communication. we seem to be exploring deprivation, and invariably we end up in saturation: saturation of silence. saturation of observation. saturation of blindness. saturation of sensing. saturation of perception. etc. etc.

hope I didn’t sound too pesimistic or something… just wanted to point out how often we seem to end up in saturation, even when we are approaching it’s opposite.

I found also a definition that I liked. Saturation: a condition in which a quantity no longer responds to some external influence. Today in the anechoic chamber all this issues of relationality vs. isolation seemed to surface a lot…


December 10, 2007

conceptual chair 01 
conceptual chair 01

conceptual chair 02
conceptual chair 02

conceptual chair 03
conceptual chair 03

highly conceptual chair
highly conceptual chair

audience member sitting on conceptual
chair and fields of potential 
audience member sitting on conceptual chair and fields of potential

100 people sitting on chairs
in Dam square (total field of
chairs in Dam square)
 100 people sitting on chairs in Dam square

Pablo, will you…

December 9, 2007

…also make a diagram of a conceptual chair? -n

bad sentence [n]

December 9, 2007

This is about to become a game of which we do not know yet what it is.  

plan [n]

December 9, 2007

In the following two weeks we compose a one hour dance (dance? dance- whatever!) piece that can be intervened on by participants (observers-performers of the ‘sitting on chairs category’). They can place and replace themselves relationally as they wish. That ensures re-composition all the time. In January we invite people. 

December 8, 2007

or… [n]

December 8, 2007

fieldings.  [field1]  [field2]  [field3] 

December 8, 2007

8.12.2007 (pablo) {fieldings 1, fieldings 2, fieldings 3}

December 8, 2007

Do you think that posting this thoughts about different performances every night is also a good publicity strategy? will you, dear audience-member-blog-reader, come to all the performances just in case?

8.12.2007 (pablo)

December 8, 2007

{fieldings 1, fieldings 2, fieldings 3}




8.12.2007 (pablo) in response to chair field

December 8, 2007

maybe the function for a doingmoving is in activating observation; maybe what is performed is what allows an audience to realize they are observing something, by activating this process and then doubling/redirecting attention towards the act of observation and not the observed act anymore… maybe the excitement (would that be entertainment?) can come from the movement from one layer to the next one or between layers, from moving from the (conceptual)chair where the performed is observed to one chair (behind/in front/under) where one observes oneself observing.


December 7, 2007

per cept

per per cept cept cept


cept ion

anion kation

+ – plus minus

e f g h i j k l m n d

die dye


(hair ???)

in all directions ???

process of a potential performance [n]

December 7, 2007

I realize that despite Diego’s remark that I promised to not worry about the performance before Christmas but started doing it this week (not worry but discuss), despite being thankful that he reminded us of that, I keep thinking about the performance. I realized that this is the research: from the first day on we have been busy to take the audience perspective instead of the traditional performer perspective, but we have also realized that this duality as it is often presented and perceived is indeed as little a duality as are body and mind. We are all observers-performers (=participants). This is exciting!! I actually want to fantasize a hundred or more possibilities out of the potential field of becoming observers-performers=participants. This is precisely the research. We are doing research on the relational movements between all participating elements (including objects, space, situation) instead of researching human anatomy. I think this last week has been turbulent. I have experienced the void-ness of potential, that we cannot become or be potential, of course not. We can hardly think it. After all, it is potential and not actualized. But this turbulent week has brought about some fantastic concepts I would say. Concrete conceptual landing sites. 

chair field [n]

December 7, 2007

I would think that an audience looking into an empty space would imagine possibilities/potentials of a performance. They would partly-actualize it in thought. I would hope that an audience in the chair field would instead be guided towards reflecting on the very act of observing, a perception of perception. 

a wish [n]

December 7, 2007

I have a wish for a ‘real’ performance today. It must be that the absolute zero also requests change and something like a vital confirmation. The joy of movement play is to me as profound as the contentment with nothing to do. I am thinking of a product-process performance situation: 3 different pieces, fieldings 1, fieldings 2, fieldings 3. The dance piece would have to be 2 or 3, and the premier would have to be the most radical disappointment of general expectations. I also want to interview important people (such as the festival directors and programmers) on what they think this work will be like. I think there comes a point of saturation when we cannot ask more questions. We should also still be able to look at our questioning with a sense of humor. After all it’s just art, hell! It is serious and yet it is really not so serious. I love that about life: that sense of nothing to do and yet everything to do. But it seems to be a good thing to confront oneself with that total nothingness or emptiness. Maybe this is really why I wanted to visit the float and anechoic chamber. Just to see if I could be ok there. Even though my previous work has really been anything but entertainment, I still have to admit that any action performed on stage is of course providing information and maybe entertaining to some degree. For that reason I would say: all out! Is it making us nervous, bored, uncomfortable, sleepy? Or can we just hang in there? It also becomes an exercise to detach from form, any form, any action. Can we then access form newly again? The wish to make ‘something’ came to me in a moment of silence and stillness, just sitting there listening to the silence, not an anechoic silence but pretty silent and still. As if in that nothingness (potential field?) any performance is also already included.