Page Title: Text on (in) Practice

Pre-notes

Remember title: text on (in) practice

(these notes (so far) were written whilst I was ill, and stayed ay home for a whole day - probably important to note this. However what preceded this was 4 weeks of intense work/play).

Perhaps I want to talk about a geological, multiplicity in our approach to narrative. 

What do interactions brings? The writings on the wall are intuitive, and then immediately concrete (Rosella), but then perhaps it's more like suddenly seeing a town on a map. Given a blank piece of paper, and then you see the roads and put them in. Yes indeed it is 'concrete' to an extent. So is it really about mapping, rather then layering. How important is the place of words?

The history of oral storytelling (aural for those listening). The point being introduce, to loosen, to entice, to hold, to open, to create a space, to wonder why, to be in the presence of something that is alive, to play with hypnosis, to practice witchcraft. I want to bring in a craft practice, a physical practice, I would like to play with the idea of function through a physical craft. Why should I be binary about the physical/digital.

Though you want to resist a binary, you have to bring a standard of logic to the practice. Working to code.

So, what do you have? I have writing, narrative, image, sound, animation, screens, voice performers (or actors), performance, written text, subtitling, credits, script.

What do I want to explore having or play with? Some physically built element, something 'live', something 'reactive', multiple screens, promenade (i.e. movement of the audience), music, drawing (ref. gothic/medieval), cartography, sets, theatre approaches, duration, performer on screen, smell, smoke, fog, steam, vibration.

Work on my weaknesses: consistency, archiving

The work I make (in the end) is not intellectually driven, although thinking deeply, to engage deeply is a part of the practice. In the end, its a hidden passage to the work. So this can be quite daunting, although I think it's always been that way. That said, I don't have to disinclude it - perhaps not centre it.

I've put objects on the paper, a photograph, a token.

“The truth is like a gnarled tree, made up of many layers that are twisted all around each other. Some layers holding others inside them, and sometimes being held. The truth is something that can be expressed in many tales, for it is like that garden The Sages entered in which each of them saw something else.” Book of Jacobs

AND, WHAT ON CHARACTER? (ERGO YENTE)

“This is the fulfilment of a process begun somewhere in Padolia. One old winter, when her great tempestuous love, the fruit of which is Samuel, took its unjustly short place - a duration of the blink of an eye amongst all the events on this flat stage. Yet, Yente sees this order, this accord. Yente, whose body is slowly turning into crystal on Chlulyounta cave. The entrance to it is now almost competley over grown with black lilac, their umbles filled with lush, ripe berries already fallen to the ground…." Book of Jacob

TO THE STUDIO

"The *lab is a place that allows us to make interesting mistakes as fast as possible." Bruno Latour

*for sake of being specific and consistent, let us swap lab for studio.

Notes from Y and A

Rich, use of precise vocabulary. If you are a native speaker, you may be floral - but the maker isn't

Conversation with herself…

Somehow this text is the result of the wall writing.

I have some doubts, whether …forming images through word - how does it look? How do we define it? Through images…we need the mental image. Using more visuals in the text, and maybe more definition? Being more precise with how these images and words look.

Forming images through words - it would be great to see this. Present this.

The maker wants to reach for non-linear telling, this could mean it becomes chaotic and hard to follow. How is the maker going to present this? How can one create, and oceanic or geological experience of narrative - in that nature is at once complex and simple.

‘This act stems from …’. I want to know more about the duality, and how do you imagine this END. What is the ‘process-practice’ what is this END. Do the wall writing when the maker finishes a project? Define what the end is, define your terms (process-practice etc.)

Is the process a piece, is it for the audience or the maker? Is this for the audience?

Maybe she doesn’t feel a necessity to share this - but people want an outcome? Will there be an outcome?

Will this paper, become something and presented by her? Or will it be up to the audience to make their ‘own way’.

It feels like this is very intimate.

It’s engaged with the maker herself?

Maybe she wants to define if she wants to share something?

Is it about the piece or presenting this way of making?

‘I stand, squat, sit’ - why is it so important? What about the physical, they want to know more. There is a performative aspect. Why do you feel the need? Physical space. What is important about the standing and squatting?

Chastising. This is interesting to Aitana. The censorship - she thought about being a teenager and writing diaries. She wanted to hide it. It is interesting, to show the edits as a process. It looked like an acceptance or curiosity of the self censorship.

“Every step needs to be visible” (Yalou) or “Or the knowledge” (Aitana)

There seems like a visible standards, between internal and external standards.

The struggle between, liner non linear

There is no polishing on the page, and polishing feels linear (Yalou) Does polishing feel linear?

It’s complex non-linear for the reader, and how do you still be kind to the reader? How to be kind to the reader?

Aitana keeps mentioning fight…

Is there a need to embrace linearty. There is something about loving linear stories. Having several linear stories, you can play with the linear - and appropriate what a linear story is. Is it really about multiplicity? Or some other term, we are working with geological, oceanic...

Maybe she needs to relax a little and embrace (Aitana) and accept the linearly a bit. How can you also embrace the linearity?

Perhaps combing the linearity of multiple could be a way to work. Working with multiple linearities. Working with multiple linearitities?

Reference, Jacqueline Wilson.

Forming images through words. And images.

‘Allows us to fall into it’ Yalou

By writing and reading through language, how can the language act the visual imagery. Only the sound and the words, your imagination creates images.

Producing texts, through drawing. Every form of text, and visualizations are on the big paper. These different ways of text and visualizing might make in non-linear. All bundled in one. All bundled in one

What do you mean non-linear? Are there other concepts that the maker could use? Is she also talking about non-conventional, perhaps there are other words she can search for or see. Again, go deeper on the term.

Yalou is definitely interested in the references, and I would like to see them. Right now its a bit ungrabbable that part. More visualisation of the referneces.

Towards the end, after the reference. I am pulled along by story and beauty and function.

The function allows me to think about wall writing. The maker seems to be interested in how things work and the use of the paper (i.e. the actions). How do things work? This is what the wall writing also seems to be, how do things work?

Aitana wonders if this something that the artist would be interested in sharing with someone or not at all.

Are there parts she could use for a more open practice. For her it doesn’t look very open. Is this an open practice?

Yalou asks whether it is not open because we haven’t seen, or because its new, or because the maker doesn’t want you to see. But then goes back to the machine? They want to see the machine, could I perhaps draw this?

Talk at Rijks

Stories tell stories, whose story is writing the legal documents?

We is slippery, in a good way.

Editing, a series of decisions on what you are writing.

"novels in voice" - who said this?