Page Title: Text on (in) Practice

Pre-notes

(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….

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.