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Between Complexities (Dense/Heavy/Solid): Exploring the Rift (Vestigial/Light/Fluid) between Two Self-organising Forms, Poem & Play: project description for creative and professional development, in part, in draft

What happens when the characters from this play drop the words that up to this point they’ve been speaking, when they forget the expressions and gestures they’ve been rehearsing, and leave the play behind altogether, to walk, like children in an enchanted wood, through the story of Semele,

innocent of everything

Jonathan Kalb tells Heiner Müller that Brecht has never been in fashion in the States, to which Müller, according to Kalb, answers: “”That’s because Americans are all innocents.” The most difficult audiences in the world and “the most dangerous people” are “those who feel innocent of everything.”” – in Jonathan

Revisiting Chekhov, after 20 years’ neglect, with Michael Pennington, who is passionate about his subject, & talks of revisiting the playwright after his own period of neglect. Then, what’s a year to a grand passion? What’s a hundred? Seven hundred?

– Three Sisters at the Moscow Art Theatre Chekhov is also bringing from his journalism a sharp eye for the obsessive, for the ludicrous ease with which we ignore other people’s needs. This is a farce technique, but now used for something a farceur hardly aspires to: a hymn to

caution: language

Gibson is back with his trademark use of language to set mood and feeling – review by S. Potter “thepothole” of William Gibson’s Spook Country, @ amazon.com . Now that the present has caught up with William Gibson’s vision of the future, which made him the most influential science fiction

@ PACE: day 12… some kind of epoche?

A vision differs from a mission, or statement of mission, and from a prediction, according to the EPOC Workbook. A prediction extrapolates from the present into the future. It renovates the past and tends not to innovate or create a new and envisioned future. A mission describes a present purpose

FOR TOO LONG WE HAVE MAINTAINED A SILENCE CLOSELY RESEMBLING STUPIDITY

November 18, 1982, at 12.35 am., Neal Ian Roberts detonated six sticks of gelignite in his backpack and in sight of the two security guards blew himself up in the foyer of the Wanganui Computer Centre. He was nearly 22. Police identified the body from tattooed pieces of skin.

anima: of people, puppets, Tesla & Zeus

In the previous post, in Rodolphe Rapetti’s description, the little girl in the photograph on the harmonium has become a “living doll,” “lifeless,” with “vacant eyes;” the picture of her actual body “disembodies eroticism.” (He does not, however, pass over the opportunity to make a sexual joke of “pull[