tag:blogger.com,1999:blog-75073536575415947532024-02-19T16:30:22.648-08:00nc-lines of flightNoyale Colinhttp://www.blogger.com/profile/03847908751078594544noreply@blogger.comBlogger41125tag:blogger.com,1999:blog-7507353657541594753.post-15482492032631170722012-11-05T09:14:00.001-08:002012-11-05T09:15:07.206-08:00Considering ... <br />
<div style="font: 12.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
considering seeing, considering doing, or feeling...</div>
<div style="font: 12.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
considering dancing again...</div>
Noyale Colinhttp://www.blogger.com/profile/03847908751078594544noreply@blogger.com0tag:blogger.com,1999:blog-7507353657541594753.post-82490096937630529042012-05-17T05:47:00.000-07:002012-05-17T05:47:36.007-07:00intuitionawareness - fluidity - action<br />
<br />
This is an approach to activate intuition modeled on release dance technique.<br />
<br />Noyale Colinhttp://www.blogger.com/profile/03847908751078594544noreply@blogger.com0tag:blogger.com,1999:blog-7507353657541594753.post-15057117064158551432012-05-17T02:00:00.003-07:002012-05-17T02:01:39.523-07:00life versus liveness<span class="Apple-style-span" style="font-family: Helvetica;">Looking at the ways in which the critical discourse has shifted from a</span><span class="Apple-style-span" style="font-family: Helvetica;"><br /></span><span class="Apple-style-span" style="font-family: Helvetica;">focus on “liveness” to one on “life.” What, we ask, can theatre and</span><span class="Apple-style-span" style="font-family: Helvetica;"><br /></span><span class="Apple-style-span" style="font-family: Helvetica;">performance studies scholars learn from a critical inquiry into</span><span class="Apple-style-span" style="font-family: Helvetica;"><br /></span><span class="Apple-style-span" style="font-family: Helvetica;">biopolitics in order to examine the ways in which “life” seems to have</span><span class="Apple-style-span" style="font-family: Helvetica;"><br /></span><span class="Apple-style-span" style="font-family: Helvetica;">become the main currency of contemporary politics?</span><span class="Apple-style-span" style="font-family: Helvetica;"><br /></span><br />
<span class="Apple-style-span" style="font-family: Helvetica;"><br /></span><br />
<span class="Apple-style-span" style="font-family: Helvetica;"><br /></span><br />
<span class="Apple-style-span" style="font-family: Helvetica;">Performance and (Bio)politics: From Liveness to Life</span>Noyale Colinhttp://www.blogger.com/profile/03847908751078594544noreply@blogger.com0tag:blogger.com,1999:blog-7507353657541594753.post-90341750767750170312012-05-11T09:48:00.004-07:002012-05-17T02:02:03.832-07:00the Viewpoint techniquehttp://en.wikipedia.org/wiki/Viewpoints<br />
Anne BogartNoyale Colinhttp://www.blogger.com/profile/03847908751078594544noreply@blogger.com0tag:blogger.com,1999:blog-7507353657541594753.post-47774044991064020462012-04-30T03:44:00.000-07:002012-04-30T03:44:43.513-07:00stealing Acconci and Gray<span class="Apple-style-span" style="font-family: Arial, monospace; font-size: 11px;"><em style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">‘I am the agent of an action and at the same time, the receiver of the action, “I” initiate an action that ends up in “me”</em></span><span class="Apple-style-span" style="font-family: Arial, monospace; font-size: 11px;">. (Acconci, V, 1979)</span>Noyale Colinhttp://www.blogger.com/profile/03847908751078594544noreply@blogger.com0tag:blogger.com,1999:blog-7507353657541594753.post-63124135258469932632012-04-30T03:41:00.001-07:002012-04-30T03:42:34.886-07:00<img src="webkit-fake-url://05CFD667-A35B-4D59-AF34-CCEDCE138AAE/image.tiff" />Noyale Colinhttp://www.blogger.com/profile/03847908751078594544noreply@blogger.com0tag:blogger.com,1999:blog-7507353657541594753.post-37818285817530658462012-04-18T04:11:00.000-07:002012-04-30T03:41:20.822-07:00How performance thinks - symposium April 13-14<br />
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
Three topics that dominated the discourse: Justice / Careness / Enigma</div>
<div>
<br /></div>
<br />
How Performance Thinks<br />
An international, two-day conference co-organized by<br />
the PSi Performance and Philosophy working group<br />
and Kingston University’s practice.research.unit<br />
<br />
April 13th-14th 2012 <br />
The London Studio Centre, London<br />
Online registration: http://howperformancethinks.eventbrite.com/<br />
£42 waged / £22 unwaged for the 2 days<br />
[NB. No one day rate is available]<br />
<br />
With plenary speakers:<br />
<br />
Vida Midgelow<br />
Joe Kelleher<br />
and<br />
Freddie Rokem<br />
<br />
A work-in-progress showing of a new performance by<br />
<br />
Every House Has a Door<br />
(Lin Hixson, Matthew Goulish, Bryan Saner, Stephen Fiehn, and Tim Kinsella)<br />
<br />
And presentations by:<br />
<br />
Stephen Bottoms / Jennifer Duffy / Thomas Richards / Simon Jones / Tender Buttons Theatre Company / Joana Craveiro / Broderick Chow / Esa Kirkkopelto / Theron Schmidt / Julie Solovyeva / Tero Nauha / Stefanie Sachsenmaier / Kelina Gotman / Josefine Wikstrom / Augusto Corrieri / Moritz Gansen and Elisabeth Schilling / Charlie Saffrey / Katja Hillevara / Jessica Walker / Joa Hug / Bernadette Anzengruber / Stefanie Husel / Elena Cologni / Rosanna Irvine / Shaun May / Peter Boenisch / Rebecca Hillman / Joao Florencio / Nik Wakefield / Gabriella Calchi-Novati / Alice Lagaay / Franziska Schroeder / Shimon Levy / Simon Bowes / Helmar Schramm / Mark Greenwood / Michelle Graves / Sophia New and Siegmar Zacharias / David Levin / Rebecca Groves / Noyale Colin<br />
<br />
<br />
Notes to come....Noyale Colinhttp://www.blogger.com/profile/03847908751078594544noreply@blogger.com0tag:blogger.com,1999:blog-7507353657541594753.post-80244756762041431412012-03-23T08:52:00.000-07:002012-03-23T08:52:36.594-07:00CALL FOR CONTRIBUTIONS - On Collaboration SYMPOSIUM 4 May 2012, Middlesex University, Trent ParkThe Performing Arts Department at Middlesex University will be hosting a<br />
one-day symposium on collaboration in performance practice, with a<br />
specific focus on the notions of 'memory', 'place' and 'time'<br />
in performance-making. The event will take place on 4 May 2012 at Trent<br />
Park Campus, North London, and will mark a farewell to the location<br />
before the department will relocate to Hendon Campus in summer 2012.<br />
The call for contributions is open to practitioners, academics and PhD<br />
students wishing to present research papers, discussion panels or short<br />
demonstrations of instances of relevant performance practice in the form<br />
of lecture demonstrations and practice demonstrations.<br />
The symposium specifically focuses on collaborative practice in<br />
performance-making and the issues of 'memory', 'place' and<br />
'time'. Questions of interest include, but are not limited to the<br />
following:<br />
<br />
• What forms or modes of collaboration can be identified in<br />
performance-making? In what ways is 'the collaborative' at stake in<br />
solo performance-making? • How do compositional techniques<br />
operate in solo and collaborative modes of performance? • How can<br />
collaboration be theorised?<br />
• How is personal or collective memory negotiated in<br />
collaborative contexts? • In what ways can technology impact on<br />
collaboration?<br />
• How are 'place' and 'time' integral to<br />
performance-making processes? • How do performers draw upon and<br />
conceive of memory in performance-making? • How is collaborative<br />
practice taught in HE? What models of practice to we offer and what are<br />
the continued values we identify in teaching collaborative<br />
performance-making?<br />
<br />
In order to apply to contribute to the symposium, please send a 250-300<br />
word abstract and a short outline of the nature of your proposed<br />
contribution to s.sachsenmaier@mdx.ac.uk and noyalecolin@yahoo.co.uk.<br />
Please also attach a short biography. Deadline 21 March 2012. All<br />
contributors will be notified by end of March. Location details of Trent<br />
Park campus: http://www.mdx.ac.uk/aboutus/Location/trent-park/index.aspx<br />
Further details of the symposium will be announced soon.<br />
<br />
Best wishes,Noyale Colinhttp://www.blogger.com/profile/03847908751078594544noreply@blogger.com0tag:blogger.com,1999:blog-7507353657541594753.post-33292720782620956332012-03-06T08:14:00.000-08:002012-03-06T08:14:27.136-08:00Stolen from Eszter Salamon and Bojana Cvejic interview - 6M1L project<br />
<br />
on composition techniques-<br />
<br />
''Performers had to compose with the memory of precise sensations - composing means writing a score while moving, this was a technique, demanding intensive concentration on the present. The performers were composing with their sensations and imagination and they got lost each of them had a strategy of how to go back to it.''<br />
<br />
''Thinking arises from the impossibility of thought. Thought arises from the impossibility of thinking.''Noyale Colinhttp://www.blogger.com/profile/03847908751078594544noreply@blogger.com0tag:blogger.com,1999:blog-7507353657541594753.post-92064232168788919412012-03-06T02:42:00.001-08:002012-03-06T02:50:18.781-08:00Process-relational theory Adrian J Ivakhiv paperThis post is a sign to my attempt at understanding the idea of non human or post human turn which are so far away from my reality.<br />
Is virtual as present as actual?<br />
<br />
<br />
Process-Relational Theory and the Eco-Ontological Turn:<br />
Clearing the Ground Between Whitehead, Deleuze, and Harman<br />
Calls for a nonhuman or posthuman “turn” can be taken as echoing a call for an “ecological turn” that environmental thinkers have made for decades. Precursors to an “ecological ontology” and/or an “ecological epistemology” can be found in the work of Bateson, Maturana and Varela, Gibson, Ingold, and others. More recently, philosophers influenced by Deleuze and Guattari (such as Stengers, Delanda, Protevi, and Berressem) have taken up these calls for an eco- or geo-philosophy.<br />
This paper argues that in this task of developing an ecophilosophy, there is value in recognizing a “process-relational” tradition as running in parallel to subtantialist, materialist, idealist, and dualist philosophies over the centuries. Such a tradition, while loosely construed and somewhat artificial, unites philosophers as disparate as Heraclitus, Chuang Tzu, and Nagarjuna with Peirce, Whitehead, Hartshorne, Simondon, Deleuze, and Stengers.<br />
The bulk of the paper responds to Graham Harman’s recent critique of process-relational approaches. Harman argues that process-relational thinkers have already had their day and have failed to account for the stabilities and inner depths of objects that make up a (posthuman) world.<br />
<a href="http://blog.uvm.edu/aivakhiv/2012/02/28/process-objects-at-the-nonhuman-turn/#more-5586">Adrian J Ivakhiv</a>Noyale Colinhttp://www.blogger.com/profile/03847908751078594544noreply@blogger.com0tag:blogger.com,1999:blog-7507353657541594753.post-60683513302402093132012-02-27T07:39:00.001-08:002012-02-27T07:40:00.663-08:00‘Tout fait’: Bergson, time, and choreographic being-made<div class="MsoNormal"><i style="mso-bidi-font-style: normal;"><span lang="EN-US">‘Tout fait’: Bergson, time, and choreographic being-made<o:p></o:p></span></i></div><div class="MsoNormal"><span lang="EN-US">A mixed mode presentation, incorporating performative elements, will explore the relationship between Bergsonian thought and the readymade – or tout fait – with a focus on the impact of technology on contemporary perceptions of time. The implications of such impacts for collaborative choreographic practices will be considered.</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Presented at the College of Arts Association Centenary Annual Conference</div><div class="MsoNormal">24 February 2012, Los Angeles, USA</div>Noyale Colinhttp://www.blogger.com/profile/03847908751078594544noreply@blogger.com0tag:blogger.com,1999:blog-7507353657541594753.post-53449171399394057932012-02-27T07:33:00.003-08:002012-02-27T07:35:48.602-08:00Representing the Human Paper Abstract<div class="MsoNormal"><b><br />
</b></div><div class="MsoNormal" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12pt; line-height: 115%;">Bodies in Motion: working through plurality<o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;">This collaborative paper aims to address questions regarding the notion of plurality as experienced in the performer body. Through practice and writing we attempt to account for such a body, and address wider questions regarding the body and identity in performance. </div><div class="MsoNormal" style="text-align: justify;">As professional performance-makers working independently through practice-as-research (in a doctoral context at Middlesex University) we have undertaken an on-going collaboration based on our mutual concern for the process of embodying our research. This article aims to frame certain tendencies, which occur when working with others in the studio. The set of conditions for this on-going project has provided a good terrain to break down some of the mechanisms of performance making, and therefore allowed us to illuminate some aspects of contemporary performance making. </div><div class="MsoNormal">Drawing on philosophical approach to performance making including William James‘ Radical Empiricism, we discuss in detail our shared practice, and attempt to find strategies that will allow us to examine the shifting tension between our sense of the monadic ‘I’ and the idea of the distributed self that Brian Rotman describes in <i style="mso-bidi-font-style: normal;">Becoming Beside Ourselves: The Alphabet, Ghosts, and Distributed Human Being</i> (2008). </div>Noyale Colinhttp://www.blogger.com/profile/03847908751078594544noreply@blogger.com0tag:blogger.com,1999:blog-7507353657541594753.post-81995271377467707192012-02-11T13:21:00.000-08:002012-02-11T13:21:46.585-08:00Rhizome- ''We have grass in our head''<div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><br />
</div><div style="font: 11.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;">The<span style="font: 12.0px Helvetica;"> </span>term<span style="font: 12.0px Helvetica;"> </span>rhizome<span style="font: 12.0px Helvetica;"> </span>is<span style="font: 12.0px Helvetica;"> </span>introduced<span style="font: 12.0px Helvetica;"> </span>by<span style="font: 12.0px Helvetica;"> </span>Gilles<span style="font: 12.0px Helvetica;"> </span>Deleuze<span style="font: 12.0px Helvetica;"> </span>and<span style="font: 12.0px Helvetica;"> </span>Félix<span style="font: 12.0px Helvetica;"> </span>Guattari<span style="font: 12.0px Helvetica;"> </span></div><div style="font: 11.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;">to<span style="font: 12.0px Helvetica;"> </span>descr ibe<span style="font: 12.0px Helvetica;"> </span>the<span style="font: 12.0px Helvetica;"> </span>way<span style="font: 12.0px Helvetica;"> </span>we<span style="font: 12.0px Helvetica;"> </span>are<span style="font: 12.0px Helvetica;"> </span>thinking.<span style="font: 12.0px Helvetica;"> </span>In<span style="font: 12.0px Helvetica;"> </span>biology<span style="font: 12.0px Helvetica;"> </span>a<span style="font: 12.0px Helvetica;"> </span>rhizome<span style="font: 12.0px Helvetica;"> </span>is<span style="font: 12.0px Helvetica;"> </span>a n<span style="font: 12.0px Helvetica;"> </span></div><div style="font: 11.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;">under ground<span style="font: 12.0px Helvetica;"> </span>system<span style="font: 12.0px Helvetica;"> </span>of<span style="font: 12.0px Helvetica;"> </span>br anches<span style="font: 12.0px Helvetica;"> </span>that<span style="font: 12.0px Helvetica;"> </span>form<span style="font: 12.0px Helvetica;"> </span>roots<span style="font: 12.0px Helvetica;"> </span>and<span style="font: 12.0px Helvetica;"> </span>leaf y<span style="font: 12.0px Helvetica;"> </span>shoot,<span style="font: 12.0px Helvetica;"> </span>just<span style="font: 12.0px Helvetica;"> </span></div><div style="font: 11.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;">beneath<span style="font: 12.0px Helvetica;"> </span>and<span style="font: 12.0px Helvetica;"> </span>just<span style="font: 12.0px Helvetica;"> </span>above<span style="font: 12.0px Helvetica;"> </span>the<span style="font: 12.0px Helvetica;"> </span>ground.<span style="font: 12.0px Helvetica;"> </span>The<span style="font: 12.0px Helvetica;"> </span>rhizome<span style="font: 12.0px Helvetica;"> </span>is<span style="font: 12.0px Helvetica;"> </span>dif ferent<span style="font: 12.0px Helvetica;"> </span>from<span style="font: 12.0px Helvetica;"> </span>the<span style="font: 12.0px Helvetica;"> </span></div><div style="font: 11.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;">old<span style="font: 12.0px Helvetica;"> </span>metaphor<span style="font: 12.0px Helvetica;"> </span>of<span style="font: 12.0px Helvetica;"> </span>the<span style="font: 12.0px Helvetica;"> </span>‘tree<span style="font: 12.0px Helvetica;"> </span>of<span style="font: 12.0px Helvetica;"> </span>knowledge’,<span style="font: 12.0px Helvetica;"> </span>with<span style="font: 12.0px Helvetica;"> </span>its<span style="font: 12.0px Helvetica;"> </span>unique<span style="font: 12.0px Helvetica;"> </span>original<span style="font: 12.0px Helvetica;"> </span>r<span style="font: 12.0px Helvetica;"> </span>o<span style="font: 12.0px Helvetica;"> </span>ot<span style="font: 12.0px Helvetica;"> </span></div><div style="font: 11.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;">and<span style="font: 12.0px Helvetica;"> </span>branches<span style="font: 12.0px Helvetica;"> </span>that<span style="font: 12.0px Helvetica;"> </span>bif urcate<span style="font: 12.0px Helvetica;"> </span>in<span style="font: 12.0px Helvetica;"> </span>binary<span style="font: 12.0px Helvetica;"> </span>splittings.<span style="font: 12.0px Helvetica;"> </span>Rhizomatic<span style="font: 12.0px Helvetica;"> </span>th<span style="font: 12.0px Helvetica;"> </span>ink<span style="font: 12.0px Helvetica;"> </span>ing</div><div style="font: 11.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;">allows<span style="font: 12.0px Helvetica;"> </span>for<span style="font: 12.0px Helvetica;"> </span>the<span style="font: 12.0px Helvetica;"> </span>combination<span style="font: 12.0px Helvetica;"> </span>of<span style="font: 12.0px Helvetica;"> </span>heterogeneous<span style="font: 12.0px Helvetica;"> </span>elements<span style="font: 12.0px Helvetica;"> </span>that<span style="font: 12.0px Helvetica;"> </span>form<span style="font: 12.0px Helvetica;"> </span>a<span style="font: 12.0px Helvetica;"> </span></div><div style="font: 11.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;">network<span style="font: 12.0px Helvetica;"> </span>that<span style="font: 12.0px Helvetica;"> </span>you<span style="font: 12.0px Helvetica;"> </span>can<span style="font: 12.0px Helvetica;"> </span>enter<span style="font: 12.0px Helvetica;"> </span>at<span style="font: 12.0px Helvetica;"> </span>any<span style="font: 12.0px Helvetica;"> </span>point.<span style="font: 12.0px Helvetica;"> </span>Like<span style="font: 12.0px Helvetica;"> </span>grass,<span style="font: 12.0px Helvetica;"> </span>it<span style="font: 12.0px Helvetica;"> </span>grows<span style="font: 12.0px Helvetica;"> </span>in<span style="font: 12.0px Helvetica;"> </span>b<span style="font: 12.0px Helvetica;"> </span>e -<span style="font: 12.0px Helvetica;"> </span></div><div style="font: 11.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;">tween<span style="font: 12.0px Helvetica;"> </span>things.<span style="font: 12.0px Helvetica;"> </span>Although<span style="font: 12.0px Helvetica;"> </span>many<span style="font: 12.0px Helvetica;"> </span>people<span style="font: 12.0px Helvetica;"> </span>think<span style="font: 12.0px Helvetica;"> </span>in<span style="font: 12.0px Helvetica;"> </span>arborescent<span style="font: 12.0px Helvetica;"> </span>(and<span style="font: 12.0px Helvetica;"> </span>hie r -<span style="font: 12.0px Helvetica;"> </span></div><div style="font: 11.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;">archical)<span style="font: 12.0px Helvetica;"> </span>structures,<b><span style="font: 12.0px Helvetica;"> </span>Deleuze<span style="font: 12.0px Helvetica;"> </span>states<span style="font: 12.0px Helvetica;"> </span>that<span style="font: 12.0px Helvetica;"> </span>we<span style="font: 12.0px Helvetica;"> </span>have<span style="font: 12.0px Helvetica;"> </span>grass<span style="font: 12.0px Helvetica;"> </span>in<span style="font: 12.0px Helvetica;"> </span>our<span style="font: 12.0px Helvetica;"> </span>heads.</b><span style="font: 12.0px Helvetica;"> </span>See<span style="font: 12.0px Helvetica;"> </span></div><div style="font: 11.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;">A<span style="font: 12.0px Helvetica;"> </span>Thousand<span style="font: 12.0px Helvetica;"> </span>P<span style="font: 12.0px Helvetica;"> </span>lateaus<span style="font: 12.0px Helvetica;"> </span>(1992:<span style="font: 12.0px Helvetica;"> </span>3-25).<span style="font: 12.0px Helvetica;"> </span></div><div style="font: 11.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="font: 12.0px Helvetica;"><br />
</span></div><div style="font: 11.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="font: 12.0px Helvetica;">Quoted from </span><span class="Apple-style-span" style="font-size: 12px;"> </span></div><div style="font: 14.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;">Patricia<span style="font: 12.0px Helvetica;"> </span>Pisters<span style="font: 12.0px Helvetica;"> </span></div><div><span style="font: 12.0px Helvetica;"><br />
</span></div><div><span style="font: 12.0px Helvetica;"><br />
</span></div>Noyale Colinhttp://www.blogger.com/profile/03847908751078594544noreply@blogger.com0tag:blogger.com,1999:blog-7507353657541594753.post-42338450144078884972012-02-02T03:36:00.000-08:002012-02-02T03:37:36.769-08:00Siobhan Davies Studios Feb 28th 2012<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghDCGjDnvoQ4TNDq0CXXD5jGUh3RkBQyNYuUuZT7UKpa6Pdi9kJaqsvycsnlQ2wqq730CjnKFdr28_zQBjFdgKDlmOs7nHbWO3dXM6TrsXIFvbFFI8tTDPEOCWyV6oH58GOSuNgUmLRgMU/s1600/IMG_0112.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghDCGjDnvoQ4TNDq0CXXD5jGUh3RkBQyNYuUuZT7UKpa6Pdi9kJaqsvycsnlQ2wqq730CjnKFdr28_zQBjFdgKDlmOs7nHbWO3dXM6TrsXIFvbFFI8tTDPEOCWyV6oH58GOSuNgUmLRgMU/s200/IMG_0112.JPG" width="200" /></a></div><span class="Apple-style-span" style="font-family: arial, helvetica, sans-serif; font-size: 16px;"></span><br />
<div align="CENTER" style="margin-bottom: 0cm; orphans: 2; widows: 2;"><span style="color: red;"><span style="font-size: large;">Rhythmic Trialogue</span></span></div><div align="CENTER" style="margin-bottom: 0cm; orphans: 2; widows: 2;"><span style="font-size: x-small;"><i>Noyale Colin, Florence Peake & JJ Wheeler</i></span></div><div align="CENTER" style="margin-bottom: 0cm; orphans: 2; widows: 2;"><span style="font-size: x-small;">At the edge of perception, rhythm marks time. It cuts, flows or disrupts – and creates relationship. Using improvisational structures, two dance artists and a musician create a web of relations with each other, with spectators and with time and space.</span></div><div><span style="font-size: x-small;"><br />
</span></div>Noyale Colinhttp://www.blogger.com/profile/03847908751078594544noreply@blogger.com0tag:blogger.com,1999:blog-7507353657541594753.post-30471166887610027542012-01-11T09:48:00.000-08:002012-01-11T09:48:46.902-08:00Rhythmic trialogueI am trying to organise my thoughts by the present attempt to articulate what I think I am doing with this project.<br />
<br />
<ol><li>it is an experiment with rhythm as the main focus of composition</li>
<li>It is a collaboration between mediums and people</li>
<li>It is the preparation of a public presentation</li>
</ol>What have we got:<br />
Rhythm divided in opposite categories:<br />
<br />
Voluntary and unvoluntary movement<br />
<br />
Heart beat, breath .... nervous system, digestive system, arterial pulse<br />
Natural and mechanical<br />
<br />
Quality of perception of R<br />
Vibration - resonance - <br />
Quality of performance of R<br />
dynamics ( texture) - tempo<br />
<br />
Composition<br />
tension and release<br />
anticipation and dissociation<br />
<br />
Movement style:<br />
pedestrian<br />
Animal<br />
Vegetal<br />
<br />
Scenography ideas:<br />
Bike lights<br />
Video projection of Florence<br />
ClayNoyale Colinhttp://www.blogger.com/profile/03847908751078594544noreply@blogger.com0tag:blogger.com,1999:blog-7507353657541594753.post-68208662436856877962011-12-13T06:11:00.000-08:002011-12-13T06:11:05.844-08:00PAF Thematic<div class="separator" style="clear: both; text-align: center;">Thematic: Presence - Transformation - Memory - Time -</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy0PiyUZw6LRgCJYUlg61q0hTXfTf6MlwyTFYjtK3Rpkjxl0VXXSeneMkGxEYbTCmpZjNSGb11JXSp3oA1RIEofmwQO_-lHzho_JqdKqgcJCBoYu9ECNRgwTuq_IJ6DQVtEUmv03kbTCZe/s1600/IMGP5611.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy0PiyUZw6LRgCJYUlg61q0hTXfTf6MlwyTFYjtK3Rpkjxl0VXXSeneMkGxEYbTCmpZjNSGb11JXSp3oA1RIEofmwQO_-lHzho_JqdKqgcJCBoYu9ECNRgwTuq_IJ6DQVtEUmv03kbTCZe/s200/IMGP5611.JPG" width="200" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPSgq5msqsikSJO4K-EJ4lz47XCiRB412c_Y0BRzSd8X61RVkubnWphFaYQKQnOmTG-1QEYneD1qX-9DH8F7M1BML9Hjnk4NwYcurbebh_TzZ_12h-4-fyfPVDVWwXH-ONv67VewelXdzd/s1600/IMGP5612.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPSgq5msqsikSJO4K-EJ4lz47XCiRB412c_Y0BRzSd8X61RVkubnWphFaYQKQnOmTG-1QEYneD1qX-9DH8F7M1BML9Hjnk4NwYcurbebh_TzZ_12h-4-fyfPVDVWwXH-ONv67VewelXdzd/s200/IMGP5612.JPG" width="200" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVRxqKcEEFONWOndvvpmhkPwbfSOvWFVX3hqUIASEU1UZZnpRN4hAPATuC_T_wWlRjxoCkTJD2FlpgY-0jFQ2aVwuKaQm169T-CH_4GiEi2y61Lphj17wS6PecyyEOxxXkAB7d_4IJCkaI/s1600/IMGP5613.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVRxqKcEEFONWOndvvpmhkPwbfSOvWFVX3hqUIASEU1UZZnpRN4hAPATuC_T_wWlRjxoCkTJD2FlpgY-0jFQ2aVwuKaQm169T-CH_4GiEi2y61Lphj17wS6PecyyEOxxXkAB7d_4IJCkaI/s200/IMGP5613.JPG" width="150" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUdtgXmAfk6gRJ7ydyiXkE1OCgjrifbj-OwRJBvy9m6vKw0ibGZYcdwWfWf_RIYtNM0pQ_q_q_au506ebt3mVIQjwtUS8y8sjeN-XADTnPrFogqjwqUbK5vBpqwKegsutFukX_KiQwWHhy/s1600/IMGP5614.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUdtgXmAfk6gRJ7ydyiXkE1OCgjrifbj-OwRJBvy9m6vKw0ibGZYcdwWfWf_RIYtNM0pQ_q_q_au506ebt3mVIQjwtUS8y8sjeN-XADTnPrFogqjwqUbK5vBpqwKegsutFukX_KiQwWHhy/s200/IMGP5614.JPG" width="150" /></a></div><br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkjFXAXz_TBCAsPZUpobGu3BwbvDm7d7M1uKbEwalWzJHJ0r4_OYcCaSkN_IGZ95p5XjVkXDJA3F5dV-weNzjPVX_TO5xlTsLK1UyClKyv9pjWcEOEx41r8R4rq5sdSR2YSBihx-vKFOG0/s1600/IMGP5616.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkjFXAXz_TBCAsPZUpobGu3BwbvDm7d7M1uKbEwalWzJHJ0r4_OYcCaSkN_IGZ95p5XjVkXDJA3F5dV-weNzjPVX_TO5xlTsLK1UyClKyv9pjWcEOEx41r8R4rq5sdSR2YSBihx-vKFOG0/s200/IMGP5616.JPG" width="200" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH5mBCG_EYZDBAzNwdYaE1eQnps3oSqnQyty4zn6PAAg0GX5JGPUkEMPc5Gel3NZVPTsu68WBRBnfUvn6B-9gwBAr3j3y9Fm01zFLPaoNQoPx1ww7JdsCGAusm-uuXJVACJ3N9cK3gAoHa/s1600/IMGP5615.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH5mBCG_EYZDBAzNwdYaE1eQnps3oSqnQyty4zn6PAAg0GX5JGPUkEMPc5Gel3NZVPTsu68WBRBnfUvn6B-9gwBAr3j3y9Fm01zFLPaoNQoPx1ww7JdsCGAusm-uuXJVACJ3N9cK3gAoHa/s200/IMGP5615.JPG" width="200" /></a></div><br />
Question: Is the moment of transformation what creates presence?Noyale Colinhttp://www.blogger.com/profile/03847908751078594544noreply@blogger.com0tag:blogger.com,1999:blog-7507353657541594753.post-24870602654291678362011-11-16T03:26:00.001-08:002011-11-16T03:26:51.518-08:00RhythmOrdered variation of changes,<div>Not only changes that come but also changes that belong,</div><div>Variation of pulse and rest,</div><div><br />
</div><div>J Dewey</div>Noyale Colinhttp://www.blogger.com/profile/03847908751078594544noreply@blogger.com0tag:blogger.com,1999:blog-7507353657541594753.post-67055803767393948222011-10-12T07:01:00.000-07:002011-10-12T07:01:22.520-07:00overlapping experienceHow could the practice of allowing other/others experience to overlap be develop?<br />
Who can we make thoughts spill?<br />
How can we make memories spill?<br />
Is the sharing of memories lead to new memories/ event/ experience of the past memories?<br />
<br />
1- pattern of data (materials, text, movements, sounds...) created by event to create more events<br />
2- map thinking about other things<br />
3 -- Over -layering sensations/ perception ( Deborah Hay method)<br />
4 - the interest of geographic/ cultural / differences<br />
5 - How do we overlap internal time for the performer? (how do we use body/ brain memory in performance)?Noyale Colinhttp://www.blogger.com/profile/03847908751078594544noreply@blogger.com0tag:blogger.com,1999:blog-7507353657541594753.post-16659564920913605252011-10-11T04:48:00.000-07:002011-10-11T04:48:19.380-07:00Open Studios<div class="separator" style="clear: both; text-align: center;">''From here,</div><div class="separator" style="clear: both; text-align: center;"> you are looking at your own weight''<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPfzmWKuN9Ymk610sg-n5ZPVOKkKnY93omls0aF2pHGCm0_5O4vEJm7BNXlcq3TtlWhuoiSQAhwaeeY6Y6Vr6PeKWJVkx_VEnrUwFs3OooK9_6Sbwo5BBXYbvwerToKfDYYu7i1rppfxQV/s1600/DSC02474.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br />
</a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPfzmWKuN9Ymk610sg-n5ZPVOKkKnY93omls0aF2pHGCm0_5O4vEJm7BNXlcq3TtlWhuoiSQAhwaeeY6Y6Vr6PeKWJVkx_VEnrUwFs3OooK9_6Sbwo5BBXYbvwerToKfDYYu7i1rppfxQV/s1600/DSC02474.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br />
</a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPfzmWKuN9Ymk610sg-n5ZPVOKkKnY93omls0aF2pHGCm0_5O4vEJm7BNXlcq3TtlWhuoiSQAhwaeeY6Y6Vr6PeKWJVkx_VEnrUwFs3OooK9_6Sbwo5BBXYbvwerToKfDYYu7i1rppfxQV/s1600/DSC02474.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPfzmWKuN9Ymk610sg-n5ZPVOKkKnY93omls0aF2pHGCm0_5O4vEJm7BNXlcq3TtlWhuoiSQAhwaeeY6Y6Vr6PeKWJVkx_VEnrUwFs3OooK9_6Sbwo5BBXYbvwerToKfDYYu7i1rppfxQV/s320/DSC02474.JPG" width="259" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTRACQjXMpG2iHx-Y94moagfcX73p8DT9sburyn4b8B_K1Qzl6d2uz_YX9_mpYiZrfOZyTCxxYqbd94qYaVSZ_BW6reCSmuTC05Ry1VYvvJoiP0Zx7r9O38PgzkcV4ZZthaPCLTpMmOkdb/s1600/DSC02462.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTRACQjXMpG2iHx-Y94moagfcX73p8DT9sburyn4b8B_K1Qzl6d2uz_YX9_mpYiZrfOZyTCxxYqbd94qYaVSZ_BW6reCSmuTC05Ry1VYvvJoiP0Zx7r9O38PgzkcV4ZZthaPCLTpMmOkdb/s320/DSC02462.JPG" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu0nVL41nN_Ah_33SSrqp1Bs2DQEgqHt8hmbz5j9IwtEcuhRearAAE5G7BaQw-_wkB8qYB8pjozQFUWFO-qwxLAn_zcoPAEyy1uFUe0onOKh8CHK_wjKtsfagUjJtmNQex2yLuY62aYvmp/s1600/DSC02458.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br />
</a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu0nVL41nN_Ah_33SSrqp1Bs2DQEgqHt8hmbz5j9IwtEcuhRearAAE5G7BaQw-_wkB8qYB8pjozQFUWFO-qwxLAn_zcoPAEyy1uFUe0onOKh8CHK_wjKtsfagUjJtmNQex2yLuY62aYvmp/s1600/DSC02458.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu0nVL41nN_Ah_33SSrqp1Bs2DQEgqHt8hmbz5j9IwtEcuhRearAAE5G7BaQw-_wkB8qYB8pjozQFUWFO-qwxLAn_zcoPAEyy1uFUe0onOKh8CHK_wjKtsfagUjJtmNQex2yLuY62aYvmp/s320/DSC02458.JPG" width="256" /></a></div>Noyale Colinhttp://www.blogger.com/profile/03847908751078594544noreply@blogger.com0tag:blogger.com,1999:blog-7507353657541594753.post-12946242748487895092011-08-17T07:30:00.000-07:002011-12-01T03:50:50.946-08:00PAF - residencyDay 1 -<br />
<br />
Presence - Transformation -Time -Memory<br />
<br />
<i>Prelimanary discussion</i><br />
<i><br />
</i><br />
<i>To Set-up a situation of event for working together in the studio -</i><br />
<br />
<ul><li><i> A series of exercises (each contribute) -</i></li>
<li><i>A list of moment of absence (each contribute)</i></li>
</ul><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy8JajV5nItLbPG6YU8v7lQlw4fwdiR1g9JOoINg_Hx1gbKpRktBgxxWyClkC5ZRf8d2zwsps6VuMJkMlvLh-sgX2Kj2CTGE5bJ3PxnBfkdUHVPMwk76iPaaLS6-K9ICVbMN9ni971S2SB/s1600/PAF2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy8JajV5nItLbPG6YU8v7lQlw4fwdiR1g9JOoINg_Hx1gbKpRktBgxxWyClkC5ZRf8d2zwsps6VuMJkMlvLh-sgX2Kj2CTGE5bJ3PxnBfkdUHVPMwk76iPaaLS6-K9ICVbMN9ni971S2SB/s200/PAF2.jpg" width="200" /></a><br />
<i>To record the account of what is going -on - How do we document?</i><br />
<br />
<b>Overarching key notions</b><br />
<br />
Proprioception:<br />
Exposing dance inside the body<br />
<br />
Transformation in performance - 2 phases - part of the performers' self exist in the body of the audience<br />
A moment of transformation - a moment of becoming<br />
Self as action<br />
<br />
Attention - attunement - relation<br />
Creating invisible threads<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_ZjmWTQk8-t8wl7HufM_yyN28uTV0Lwgp0s8g7w_-XKaSqDIhyphenhyphenpDVN0ruYGYPVVeCivZm60rosQ6pgk3UcYmkh5_B0KvrFE0EjhCnlBvQb6Yb1jsSpkqItDh-lv4yAInCsmmlyxCGL-O8/s1600/PAF4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_ZjmWTQk8-t8wl7HufM_yyN28uTV0Lwgp0s8g7w_-XKaSqDIhyphenhyphenpDVN0ruYGYPVVeCivZm60rosQ6pgk3UcYmkh5_B0KvrFE0EjhCnlBvQb6Yb1jsSpkqItDh-lv4yAInCsmmlyxCGL-O8/s200/PAF4.jpg" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE3UjJ22BWJ9J9zVXU2KCznANX-NAVWh_HKUiHGIMwYWbzJDzzO8CUyCVR-o1nIG2fFxlqSNb9rbzG8GIRF_KFdZJ1mf67N2qIL0YEs8AQEeugIHQEb9LCLUGBZO2_DLglHhWbxk579lpS/s1600/PAF5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE3UjJ22BWJ9J9zVXU2KCznANX-NAVWh_HKUiHGIMwYWbzJDzzO8CUyCVR-o1nIG2fFxlqSNb9rbzG8GIRF_KFdZJ1mf67N2qIL0YEs8AQEeugIHQEb9LCLUGBZO2_DLglHhWbxk579lpS/s320/PAF5.jpg" width="200" /></a></div><br />
Form & formlessness = training<br />
<br />
The inhuman performer: What is it that is not you but that is not someone else?<br />
Performer imagination - transformation / Viewer imagination - transformation<br />
<i><br />
</i><br />
<i>Arriving - becoming present-</i><br />
<i><br />
</i><br />
<i></i><br />
<div style="font-style: normal; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><i>Moving out of the head, to a landscape of feeling, memory, impulse and dream ....</i></div><div style="font-style: normal; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><i>''reading Deleuze as a dream book - as a challenge of the notion of <i>grasping</i>'' Susan</i></div><br />
<br />
Practicing exercises:<br />
4''33 Cage - focus out<br />
Small dance Paxton - focus in<br />
Blind walk - out<br />
Pairing with percentage - giving / supporting - 80/50/20<br />
Embodied reading - Forti Newspapper<br />
<br />
Practical 1<br />
Memory Gestures improvisation: Directed gestures/actions using images - not through imagination but through being (feeling versus thinking) Here connection with being and the deleuzian notion of actualisation - virtual technology.<br />
<br />
Practical 2<br />
Butho Fu Improvisation:<br />
1 place<br />
1 figure<br />
1 oject<br />
1 environment<br />
1 landsacape<br />
1 verbe<br />
1 sensory information<br />
<br />
Butho fu *1<br />
<br />
Endless dark corridor,<br />
Sunlight coming through each lonely rooms<br />
Steps echoing from an old time, don't leave any traces in the creaking planks<br />
Turn left, right, get lost in the corner,<br />
In the fire brace, she is waiting for our eyes to find her nails padding the featherless peacock<br />
Through the hole in the wall the helicopter dance with the eagles<br />
<br />
Instructions/tacks<br />
<br />
<br />
<ol><li>follow invisible threads</li>
<li>jump back into a picture</li>
<li>dance 3 min like your father</li>
<li>carry forward and let go</li>
<li>think about something boring and make it interesting</li>
</ol><div>Sensation composition from improvisation - A score-</div><div><br />
</div><div>Remembering traces of gestures</div><div>As soon as you find variation, you change the sensation</div><div>Alter the intensity of the sensation</div><div>Come back to neutral</div><div>Remember the sensation, feel it but don't do</div><div>Apply the sensation to of the gesture to another gesture ( the next one)</div><div>Go back to the other gesture</div><div>Transform and merge the other 2 gestures</div><div>Use the other gestures to break form the pattern of repetition</div><br />
<br />
<b>Reflection and comments</b><br />
We can't quantify sensation, they are only quality<br />
<br />
<br />
Day 2<br />
<br />
Suggestions:<br />
<br />
<ul><li>Going back to 5 gestures</li>
<li>going back to butho fu</li>
<li>doing a durational improvisation - something we witness evolving for 30 min</li>
<li>partnering sensation - impulse (eye contact -duo)</li>
</ul><div><br />
</div><div><b>Reflection and comment</b></div><div><b><br />
</b></div><div>Active viewing= action</div><div>Observing what are the threshold when the observer start to interrupt/interfere with the action going on</div>Noyale Colinhttp://www.blogger.com/profile/03847908751078594544noreply@blogger.com0tag:blogger.com,1999:blog-7507353657541594753.post-82403457777588697392011-07-27T02:46:00.000-07:002011-07-27T02:46:26.795-07:00Le tragique et LyotardLe tragique, dit le philosophe Lyotard, ''c'est que nous sommes nes a notre insu''<br />
quand s'eveille notre conscience d'etre vivant tout est joue, il est deja trop tard<br />
Elizabeth De FontenayNoyale Colinhttp://www.blogger.com/profile/03847908751078594544noreply@blogger.com0tag:blogger.com,1999:blog-7507353657541594753.post-85678413822661981862011-07-21T08:25:00.000-07:002011-07-21T08:25:44.300-07:00Paul Rabinow''Collaboration means investigating new forms of work that redistribute individual and collective contributions''Noyale Colinhttp://www.blogger.com/profile/03847908751078594544noreply@blogger.com0tag:blogger.com,1999:blog-7507353657541594753.post-9848247559691549142011-07-19T12:54:00.000-07:002011-07-19T12:57:39.952-07:00Triangle by Lisa Nelson<div class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family: "Arial", "sans-serif"; font-size: 11pt;">For any number of players</span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family: "Arial", "sans-serif"; font-size: 11pt;">To officially start the game someone calls out loud, <u>ZERO</u>. The players can be anywhere they like in the space. Moving is optional.</span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family: "Arial", "sans-serif"; font-size: 11pt;">After a time (or very quickly) someone calls out loud, <u>ONE</u>. At this call each player must to look to another player and you must never loose sight of the person you have chosen to look at. You need to see this person the whole time but it can also be just a part the body that you see. There is no need to exchange gazes or that the same two people must look at each other. (But this is possible). Moving is necessary only to allow you to keep seeing this person. </span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family: "Arial", "sans-serif"; font-size: 11pt;">After a time (or very quickly) someone calls out loud, <u>TWO</u>. At this call each player <u>keeps</u> seeing the first person they have chosen and adds another. Again you only need to see part of the body of the people you have chosen and there is no need to exchange gazes. But you must be able to see the two people you have chosen at the same time - <u>all the time.</u> To look at one person and then the other is not correct. You must never loose sight of the people you have chosen to look at. You may have to move to keep seeing these two people.</span></div><br />
See http://tuningscoreslog.wordpress.comNoyale Colinhttp://www.blogger.com/profile/03847908751078594544noreply@blogger.com0tag:blogger.com,1999:blog-7507353657541594753.post-86466578580926612512011-07-18T07:25:00.000-07:002011-07-18T07:25:49.276-07:00Procedural Architecture*<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD6DXfqkShYDtWaF1DzmdPkKBxHvcM6BD-H6lTRGQ_A93c6vKF-5EK3sTFSv9LD3W7z9yMNGo21e_fSoMr4ohhQMSruEWEhl_KA1Sx7Lk1ovsFjsaXCv1AcKZPJgAy83-MwO8jLF3mbrJa/s1600/SNB10026.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD6DXfqkShYDtWaF1DzmdPkKBxHvcM6BD-H6lTRGQ_A93c6vKF-5EK3sTFSv9LD3W7z9yMNGo21e_fSoMr4ohhQMSruEWEhl_KA1Sx7Lk1ovsFjsaXCv1AcKZPJgAy83-MwO8jLF3mbrJa/s320/SNB10026.JPG" width="320" /></a></div>Noyale Colinhttp://www.blogger.com/profile/03847908751078594544noreply@blogger.com0tag:blogger.com,1999:blog-7507353657541594753.post-88912505707494650932011-06-27T02:20:00.000-07:002011-06-27T02:21:21.207-07:00Graine de Kumquat - AmagatsuStation debout sur la frange entre terre et mer<br />
Devant, deployé à perte de vue, l'horizon<br />
par -dessous, un grouillement de poissons<br />
Qui depuis les fonds fixent des yeux la surface des eaux<br />
leurs innonbrables coeurs font du tapage,<br />
tantot a l'unisson, en un immense battement, tantot en ordre disperse<br />
et sans fin cela recommence,<br />
Jusqu'a ce qu'une espece entiere emerge<br />
et grimpe sur le continent<br />
se mette a respirer, a deployer des mains et des jambes,<br />
a marcher a se redresser,<br />
Images remanentes qui se superposent<br />
les unes aux autres,<br />
pour s'unir tout a la fin, la, derniere soi.<br />
Devant soi, derriere soi.<br />
Quelqu'un regarde dans son dos celui qui<br />
regarde la mer. Ouis quelqu'un d'autre regarde ce quelqu'un dans son<br />
dos...<br />
L'impression de se tenir en un point<br />
d'un cercle immense.<br />
On croit pouvoir boucler la boucle en<br />
s'avancant, resolument, vers la mer.<br />
<br />
Une ombre tremble sous la paupieres.<br />
Les yeux s'ouvrent lentement.<br />
Partout devant, le vaste ciel bleu.<br />
<br />
Je m'etais evanoui.<br />
<br />
A la pointe du cap, le phare, une large<br />
plage de sable, la cloche du toscin.<br />
Le soleil brille, d'une lumiere violente.<br />
<br />
Reverie a l'instant de la chute.<br />
<br />
Tenebres au coeur de mon reve.<br />
<br />
La nausée vient.<br />
au reste la soiree avait ete chaude, impo-<br />
ssible de dormir, yeux ecarquilles<br />
face aux tenebres, comme si j'avais pose<br />
une question horrible.<br />
<br />
Ete<br />
<br />
UShio Amagatsu - dialogue avec la gravité<br />
2000Noyale Colinhttp://www.blogger.com/profile/03847908751078594544noreply@blogger.com0