SCORE 7: 10 minutes in total (CD)
NAME/OUTLINE: Simultaneous translation (in pairs)
LOCATION: within a defined section of the space (could be benches near bandstand?)
Part 1:
* Come to sitting together on a bench in a pair. Suggestion: both persons sit with their whole body facing towards the right (so listener effectively faces away from reader) - like this //
* One person reads their text from the last score slowly, line by line.
* The other person translates simultaneously to their own language (finding approximations and resemblances if needed). Or if they pair have the same language, explore ways of re-phrasing or emphasizing specific words.
SCORE 3
NAME/OUTLINE: Paired writing/reading on benches (Attending to rhythm of writing)
LOCATION: within a defined section of the space
Note: There are three parts to this score – introduce the 3 parts at the start, inviting writers to make a note of the instructions.
Part 1:
To begin: Come together in a pair, ideally with someone you have not written side-by-side in previous scores. Come to sit together on a bench. Write for 10 minutes in relation to the prompts: Attend to what happens. “Me” as something that is also happening. “I let myself happen”.
Part 2:
* Then, one person reads their text to the other person whilst the other listens. At the same time, the listener makes some kind of graphic notation (of their own choice) in response to what they listening to, specifically for registering the rhythm and prosody (patterns of stress and intonation) of the other’s reading/writing.
* Then swap over – the other person reads their text whilst the other listens and notates the rhythm etc.
Part 3:
* Take a moment to observe the notation that you made of the other’s writing/reading rhythm. Then, begin to write again (still side by side, using the original score) whilst also allowing oneself to be in-formed, influenced, shaped by the rhythm and prosody of the other’s writing.
FOCUS FOR THE SESSION:
1. Continuing to explore themes around self/other awareness; Joint attention; Emergent “we”; awareness of cultural disposition; towards the collective; intimacy/public; attending to the ‘between’; commonalities/differences.
2. TRA – translations, translinguality, transmutation, crossings/hybridisations/between languages.
REFLECTION - 5 mins writing
LOCATION: could be benches near bandstand.
Take a moment to recall the experience of the morning – individually writing some thoughts, observations, reflections. (?? perhaps also in relation to themes (1) self/other awareness; Joint attention; Emergent “we”; awareness of cultural disposition; towards the collective; intimacy/public; attending to the ‘between’); (2) TRA – translation, translingual.
Optional – to share some words, phrase or sentences from the reflection, or to share some of your thoughts on the experience of the morning.
SCORE 1:
NAME/OUTLINE: Attunement to sonic rhythms/texture of the space
LOCATION: within a defined section of the space
* Take time to arrive in the space and into your body, tuning into all the senses.
* Then, let yourself be drawn/moved to a specific location in the space – responding to the pull of some kind of attraction. Once there, close your eyes (if this feels comfortable) and LISTEN - tune into the sonic texture or atmosphere of that specific locale. Notice the sonic rhythms and pulses.
* Then, open your eyes, and let yourself be drawn/moved to a different location in the space. Once there, again close your eyes (if this feels comfortable) LISTEN - tune into the sonic texture or atmosphere of that specific locale.
* Repeat a couple more times, observing the shifts of sonic texture and audible rhythms in different parts of the space.
SCORE 2
NAME/OUTLINE: – Listening with the sonic-scape/Writing the sounds
LOCATION: within a defined section of the space
* Find a comfortable location within the space where you can remain still and write for 10 minutes.
* Once there, observe the sounds that you can hear - paying attention to the sonic rhythms around you.
* Explore ways for writing the sounds – (e.g. this could be through use of onomatopoeia [a word that also names the sound it makes] or by using language to ‘mimic’ the sounds)
SCORE 4: 20 minutes in total
NAME/OUTLINE: Paired writing/reading on benches (Condensation)
LOCATION: within a defined section of the space
Note: There are a number of parts to this score – introduce all parts at the start, inviting writers to make a note of the instructions.
OPTIONAL? Pass the last line of your writing from the last score to another writer, which could become part of the prompt/score for the next writing.
Part 1: Writing
* To begin: Come together in a new pair. Come to sit together on a bench. Write for 10 minutes with these prompts in mind: Attend to what happens. “Me” as something that is also happening. “I let myself happen”. (Also, option of taking the last line of another’s writing as a starting point). NOTE: This score involves passing your notebook to the other person for them to read back to you – so have this in mind when you are writing.
Part 2: Reading – noting the resonating words
* Swap notebooks.
* One person reads the other’s writing out loud whilst the original writer listens to their own text being read. At the same time as listening to the reading, note/write down those words/phrases that stand out or feel most resonant. Consider how these resonating words land on the page – spacing etc.
* Then swap over – one person reads the other’s text whilst the original writer listens and notes/writes down resonating words/phrases.
Part 3: Reading the condensation (still in pairs or option of coming together as a group/circle??)
* Now taking turns, each person reads out loud the condensation/edit produced through this practice of noting the words/phrases that stood out/felt most resonant.
SCORE 6: 30 minutes in total
NAME/OUTLINE: Paired writing/reading on benches (Ringing words [of the other])
LOCATION: within a defined section of the space (could be benches near bandstand?)
Note: There are a number of parts to this score – introduce all parts at the start, inviting writers to make a note of the instructions. [[OPTION: possibility of also using the two text fragments from the last score as part of the prompt?]]
Part 1: Writing
* To begin: Come together in a new pair. Come to sit together on a bench alongside one another. Write for 10 minutes in relation to the prompts: Attend to what happens. “Me” as something that is also happening. “I let myself happen” (We could also use the two text fragments from last score as optional extra starting points?)
Part 2: Reading
* One person reads their own writing out loud to the other person. At the same time as listening to the reading, the listener notes/writes down the ‘ringing words’ that stand out or somehow resonate for them.
* Then swap over – the other person reads their text out loud … whilst the listener notes the ‘ringing words’.
* Multilingual aspect – you could note the actual ‘ringing words’ in the original language or find a way of noting the sounding of them, or even find an approximation/translation in your own language.
Part 3: Writing
* Write for 10 minutes with the ‘ringing words’ as the starting point/initiating prompt.
SCORE 5: 20 minutes in total
NAME/OUTLINE: Broken Phone
LOCATION: within a defined section of the space (Bandstand?)
Preparation: Write down the last line of your writing from the last score clearly on a piece of paper. Place the written texts upside down/screwed up in a pile on the floor.
PART 1
* One person picks up one of the text fragments. Take a moment to look at the text (make sure to keep hold of it for later). Then, tell it to the person to their left by whispering it to them. This person then tells it to the next person by whispering it to them (and so on). The last person in the circle, writes down what they heard on a piece of paper. Make a new pile of text fragments, placing them upside down/screwed up on the floor.
* Then, another person picks up a new text fragment from original pile …. (as before)
* Then, another person picks up a new text fragment from original pile …. (as before) etc.
PART 2
* Option: do we first read the original text fragment? If so, read in a circle one by one.
* Each person picks up a text fragment from the new pile. Take a moment to look at the text. Then we read the texts in a circle one by one.
* Keep hold of the two text fragments from this score.
part 3
på den andra sidan av detta ark
hur jag lyssnade då du läste
en kontinuitet i en plats som kanske var jag i formen av det du antecknade
score 2 10 min
writing with the sounds
bakgrundsljud
återkommande ljud
läten
ihållande ljud
repeti ti tioner
tysthet
intervaller
ljud som rör sig i rummet
ljud som kombineras med andra sinnesförnimmelser
röster
toner
signaler
flaxande
steg som stannar
bang
högtalare
kyrkans klockor som egentligen är en inbandning
ljud ovanför, propellerflygplan
visslingar
score 3 30 min
part 1
paired writing, attending to the rythm of writing
writing score me as something that is happening
medan jag sitter och lutar bakåt
blundar
stänga öronen
höger sittben
vänster
avståndet till den andra på bänken
lutar lätt bakåt
du skriver och jag tänker att du förnimmer
rullar fingertopparna mot varandra
låter armarna vila
vänder på huvudet
i horisonten, vulkanen som pumpar puffar rök
andas djupt
försöker slappna av i axlarna
vinden
suckar
en person ropar på någon
Part 2
grafiska anteckningar av rytm av hur M läste i skrivhäftet
score 4
paired writing/reading
condensation
writing score me as something that happens
M ”It´s more forces of attraction”
handwiting in the landscape of grids
making a background
finding comfort in a contained space is
i let myself happen then
attraction as direction taht orients me in space
a sense of ease of letting the attractions be but me not following
score 6, part 1
paired writing, C and L
are the i and me a community
joining me and i
mei mie iem emi
joining
score 6, part 2
C reads
two words cling together
resounds
rolls
two words clinging to another make italic writing, the lines join
pause
another word finding its place
Wednesday 13 November
Zócalo de San Pedro Cholula
Listening with the sonic-scape/Writing the sounds
da da da dada da da da da
DA DA DA DA DA
rrrrrrrrrrrrrrrrrrrrrrrrr
DA DA DA
DA
zrrrrrrrrr,
zrrrrrrrr ddd
zrrrrrr
DA
DA
DA
DA
DA
Zzzrrrrr
DA
zzzrrrrr
zzzrrrrr
zzrr
DA
zzzr
zzzrrr
zzrr
DA, DA, DA, da da
zzzr
zzzrrr
zzrr
NNNNNNNNNNNNN
zzzr
zzzrrr
zzrr
DA, DA,
ee
ee
ee
eeeee!
dadadadadada
zzzr
zzzrrr
zzrr
dadadada wee weee weee weee
dadadada
alalalala
alalalala
It is more of a thud than a bang.
Thud, thud, thud, like something being hidd or dropped.
RrrrRRRRRRrrrrRRRRRRR
Click (drop, fall)
soft footsteps.
DA DA da DA zzzr
zzzrrr
zzrr
Continuities.
Continuous discontinuities.
The thud of bangs.
Whirring motors.
Soft footsteps
Sounds of conversation.
Zzzr zzzr
zzzrrr
zzrr
DA, DA, DA
dadadada
eeeee eeeee
Then more of a BANG.
DA, DA, DA
eee eee eee eee
DA, DA
eeeeee
BANG. BANG.
Soft whir.
DADADADADADA DA, DA
Zzzr zzzr
(discontinuous continuity)
DA, DA, DA
dadadadadadadadadadadadada
DA
DING DONG
DING DONG
da
dada
dadadada
da
ddddddddd dddddddddd
Different d’s
D
d
da
DA
Duh
Dddddddd (motor)
da da da da (bangs)
pppppppppppppppppppppppppppppplane
eeee eeee
DA! DA! DA!
Paired writing/reading on benches (Condensation)
I
Make me thalassa.
Make me Thalassa.
Can I begin with this not knowing.
Can I begin with this unsureness.
How do I begin from not being sure.
No, not even ‘not sure’, but from ignorance.
What is this Thalassa that I am being made into.
Make me listen.
But who is making me.
Being made to do something.
Or wishing oneself made [by oneself]
[by another]
[by the situation]
[by what is happening]
Like a spell.
Let me be made.
Let me be re-made.
No make me ‘something’.
Just made, remade, again, again.
I am remade in the writing.
I am remade by beginning with your words.
The writing wishes to be made.
‘Make me’ the writing calls.
The writing needs the pen to be made.
‘Let me be remade’.
Remade
- Like remedy.
Curing, caring, curating.
Writing as remedy.
As remaking:
[of itself]
[of myself]
[of us]
in relation
Remaking in relation.
Each time I remake myself in relation to the other.
Is this the case?
No, I am remade in each encounter. It is not “I” doing the making, so better, can I let myself be remade.
Can I let myself happen?
Can I let myself be remade?
Can the writing remake me?
How am “I” remade in the “we”?
I
This “I” and “me” now calls my attention.
Am “I” sat next to you or is “me” sat next to you?
Is this “I” in the “me”?
Or “me” in the “I”?
Sense of interchangeability and non-interchangeability.
Are our two writings interchangeable or non-interchangeable?
In that – do they offer a similar take on ‘now’, or is our perspective marked by differences?
Sameness.
Similarity.
Difference.
Opposition.
Degrees of relation, of alike-ness, of alterity, of otherness.
Are our rhythms interchangeable?
Can there be a common?
I now recall the word ‘entrainment’:
A coming together in times, a coming together in rhythm.
The conversation to my right – a coming together in rhythm.
Conversation as coming together in rhythm (turning together in words)
An agreement in rhythm?
The rhythm of conversation is culturally and socially inscribed.
Can I discern the rhythm of this conversation – does it take turns or overlap or collide or intermingle?
Two conversations now – one to the side, one behind.
They enter into dialogue and yet I cannot tell what is being said.
A voice raises.
Again, I cannot tell its nature.
Now in front, another conversation becomes audible.
The benches have become zones of conversation.
A smile, an acknowledgement.
Do you see “me” or “I”?
“Me” feels like it is seeable from the outside; “I” is felt from the inside.
“Me” appears in the world.
“I” has a quality of interiority.
There is also a grammatical difference – a ‘correct’ way of using “I” and “me”.
You and me or you and I.
I am never too sure.
Is this formal and informal – or only a matter of grammar?
The dilemma of the correct pronoun.
You and me sitting on this bench.
Or you and I.
I and I can be a way of saying ‘we’.
I + I = we
1 + 1 = 2
Two, to, too, tu.
Tu – you.
1 + 1 = two, tu, you, or we.
I + I – I am more than one I, always multiple.
I + I = I
My writing I.
My sitting I.
My I that wonders about the time.
The “I” that notices the hand of “me” writing – both subject and object.
I as a witness.
Me as a writer
Is one more autobiographical?
Is one more made of flesh?
“Me” as a coordinate in the world.
“I” as an inner orientation.
II
The sound of the motor.
Sounding.
[sounding]
~~~~~~~~ sound-ing.
Blue and a pause in the sounding
[I let myself breathe]
[I lean back into the bench]
I realise I am holding my breath.
Do I feel this in my writing too?
My writing
The writing
The writing happening
Between your rhythm and my pen
Am I being haunted?
Can I let myself be possessed?
possess
possession
[do I possess I?]
[am I possessed by me]
[does writing possess an agency of its own]
[whose is this writing]
this writing
this writing
writing this
writing this-ness
writing is this, only this
the this-ness of writing
Can I let go of the possessive?
Let go of the possessive I.
This notion of ‘possessive’ is also a grammatical construction.
I am not sure what this really means in grammatical terms.
The possessive I; or the I possessed?
possessed
possible
possibility
position
Whatever possessed you?
What came over you?
Is this sense of ‘what came over you’ different from attending to ‘what comes’?
What comes?
What comes over me (in writing)?
A sudden loss of self:
[of bearings]
[of orientation]
[of sense]
[of sensibility]
What came over me?
I do not know.
I was overcome.
over come
come over
A call to ‘come over’
A cuckoo
A sounding bell
[come here]
imperative
What comes (receptive)
RECEPTIVE
NEGATIVE
ADJECTIVE
AFFIRMATIVE
I lose my bearings.
I lose the score.
I lose my rhythm (your rhythm)
Whose rhythm emerges,
between the you and me,
between the you and I,
the we:
no mine, no me.
Make me
Tra la
Tra la
Can I?
How do I?
No
Not even,
From ignorance.
Thalassa
Dalasa
Make me listen,
Making we.
A-rising.
Finishing.
Oneself made,
By oneself.
Let me remake, no making, no made.
“I” is remade,
Beginnings.
To be made,
Remade.
Like
A remedy.
[of us]
in relation
each time
through the other
It is not I,
Can I let myself
Remake me.
How – we.
score 7
simultaneous translation
hur är dessa
denna tanke
som inte dröjer mer än en sekund
utan kontraster
varför
utan tycke
emellan
utan
i samma
inte men ändå
Paired writing/reading on benches (Ringing words [of the other])
III
Nearness, neighbours.
Scent and sent.
Scents and sense.
Were and we’re.
We are.
Were we.
Are we?
We are.
Question and declaration.
Are we? We are.
Unlocking, unlocking – coming apart, undoing, undoing, unbound.
Falling apart.
Falling apart.
Following.
Deep, deep – recalling a skyline I have never seen (in the flesh).
In the flesh – does the skyline have a flesh?
Flesh of skyline – following flesh.
Shhhh – to come to quiet.
A gear change.
Can we follow the scents?
Can we follow the sense?
Through our we,
coming to shhh,
to shhh,
to silence.
Between our words.
Deep relief, release
The re- of ease. Again.
Re-ease.
Re-lease.
Lease
Lease
Sense-less.
Release of “me” through “we”.
I
From two texts from Broken phone:
Rodazir riza la roda
Roda
om
all rigty in a community
Om om – all.
All.
A community is never all.
Always some exclusion, within the inclusion of community.
Community – a togetherness in the wider all.
All is not community.
Community involves a coming-together, but not of all.
Om – a coming together.
Coming together – of worldly and divine.
la la om
la la om
Melodies of coming together.
All roads, all roda, come together.
All roads come together.
Do all roads come together?
Do ‘we’ come together as ‘community’?
Is ‘we’ already ‘community’?
Community is never neutral.
All right.
Alright.
Meaning OK.
An OK community.
This community is alright.
Alright.
All right.
There are right leaning communities.
Community is never neutral.
Not all communities feel OK.
Not all communities are alright.
Are we OK?
Expression of doubt.
A relationship in danger.
Are we alright?
Are we OK?
Is the ‘we’ of us intact?
Are we still ‘together’?
Do our paths still meet?
Are there crossed wires?
Lalala
Lalala
Do ‘we’ melody?
Lalala
Are we ‘in’ or are we ‘out’?
score 7
simultaneous translation
hur är dessa
denna tanke
som inte dröjer mer än en sekund
utan kontraster
varför
utan tycke
emellan
utan
i samma
inte men ändå
Reflection
How my thinking is shaped by my rhythm of thought and how if I disrupt that rhythm a different shape of thought happens.
“I” am being continuously shaped by the rhythm of my thought; can “I” be remade (differently) by changing the rhythm?
Rhythm as cultural conditioning.
Rhythm as “my” conditioning.
Rhythm is how “I” is made.
Rhythm of “I”.
To disrupt that rhythm.
To melody in a different way.
Is my is this rhythm, like a blood beat.
I welcome the release from this rhythm of “I”, of “m”
To let the rhythm be changed.
To be changed by a rhythm, by a different rhythm.
Coming into a different rhythm lets me recognise the rhythms I do not usually see.
That this is a rhythm, and this rhythm might not be the same as yours.
It/I is only a rhythm.
To let that rhythm change.
To let in.
To let go.
Not “I” that is letting.
Not “I” that allows.
To just let go of it all.
Into a different rhythm and how liberating this can feel.
Release.
Release in language.
Language as a way of releasing.
To be thought by the writing.
To let myself be thought.
13 de Noviembre 2024
Zócalo de San Pedro Cholula
10:19am
Soleado cielo azul con algunas nubes difuminadas
Ñññ ññ ññññ ñññ ññ ñññ ññ ññ ñññ ññ ññ ññ ññ ñ ññ ñ ñ ñ ñ ñ ñ ñññññ ñ ñ ñ ñ ñ ñ ññ ññ ñ ñ ñ ññ ñ ññ ññ ññ ñ ññ ñ ññ ññ ññ ñ ñ ñ ñ ñ ññ ñ ñ ñ ñ ñ ñ ñ ññ ñ ñ ñ ñ ñ ññ ñ ññ ññ ññ ñ ñ ñ ñ ññ ñ ñ ññ ñ ñ ññ ñ ññ ñ ñ ññ ñ cltck cltck! Tunk tunk mññññ fffffff mñmñngtcmñmñgggggg tunk tunk tunk tunk tunk tunk tunk tunk tunk ha ha ha ha ha tunk waaaaa fsfsfsfs fs-fs-fs-fs-fs-fs-fs-fs-ggg, tunk tunk tunk tunk ññññ rrrrrrrrrr t rrrrrt rrrrr ggggggg tunk tunk tunk tunk tunk tunk tunk tutunk tututututu tunk tunk tunk ññññ ññññ ññññ tu tú tutú uuuuuu tunk tunk ññññññññ mñññ mñññ mñññ mñññ ñññ ñññ ñññ ññ tunk tunk tunk tunk tunk tunk tunk tunk tunk mmmmñmmmmmñmmmm mññmmmmñmmmñm mñññmmmñmmmm mññmmmñm
13 de Noviembre 2024
11:15am
San Pedro, Cholula
Soleado, cielo azul, nubes difuminadas
I LET MYSELF BE. IS BEING THE SAME THAN HAPPENING? ¿SI ME DEJO SER, ESTOY SUCEDIENDO? ¿QUÉ ES LO QUE SUCEDE? WHY IS I PULLING SOMEWHERE TOWARDS THE ME AND NOT THE WE? WHO’S WHYTHM IS IT? IS IT THE I’S RHYTHM OR THE ME RHYTHM? WHO IS THE ‘MINE’? HOW MANY ARE WE?
¿CÓMO NOS TRASLAPAMOS?
¿NOS TRADUCIMOS ENTRE SÍ? DOES THE I TRANSLATES THE ME, OR THE MINE? OR VICE VERSA.
ELLA ME DIJO ‘NO MIND NO ME’ BUT I WONDER IF IT’S MIND OR TO MIND.
HOW TO PAY ATTENTION TO THE RHYTHMS WHEN I OR ME IS/ARE IN-BETWEEN?
HOW. WHO IS ME? WHO IS I? WHO IS WE? WHERE IS WE?
¿QUIÉN SACA EL AIRE DE LOS PULMONES?
“TEAM WORK MAKES THE DREAM WORK” THEY SAY. WHO’S THEY. DOES THEY KNOW I AND ME? DO i AND ME KNOW THEY? ARE THE I AND THE ME A COMMUNITY?
saperdiz
dispersa
sres momentos:
este
dis
dis is
your write side
compre memento
molido compre
temporiza la onda
que onda?
on
13 de Noviembre 2024
Zócalo de San Pedro Cholula
10:34am
Soleado cielo azul con algunas nubes difuminadas
El volcán con fumarola moderada
“Yo como algo que sucede. Me dejo suceder.”
I or Me happens
I happen. I happen to be. Me happens. The me happens. I listen. I hear. I see. I observe.
Where is the I of the me?
Where is the me of the I?
Who happens first? The me or the I?
I switch and listen.
“¿quién quiere esta carreola? La niña ya no quiere, ¿quién quiere esta carreola?”
“¿Bueno? Hola amor, ya acabé y este…”
Mñmñmñmñmñññ mñ mñ
No estoy sola en esta banca.
Alguien se sienta a mi izquierda. Yo, me, mi. Yo, me, mi; yo me mi; yo me mi; yo me mi.
¿Cuántas extensiones del yo hay? ¿Cuánto se extiende? ¿Cuánto se distiende? “Sigueme” “Amonos sigueme”
I let myself happen.
Leting. Allowance. Permission. Control. How to let myself happen? Who is the I that happens?
Las campanas suenan brevemente. La gente camina. La gente se sienta. La gente siente. Alguien fuma. Alguien escribe. Alguien corta el pasto. Yo estoy sentada escribiendo. Traspasos del yo. Transcribing of the I, of the yo, of the minä, je, io. Transmutations of being. Translocations of attention.
I sigh. A sigh lets me happen.
13 de Noviembre 2024
12:23h
Soleado, cielo azul, nube definida
‘how can I remain in the way?’
‘it is yet another circle, cyle, kirke’
In the way… en medio de?
en el camino de? who’s way?
which way? what’s way?
todo el tiempo se esta en medio de. en medio de, entre para por sedum si sobre tras.
figures
figurations
yet
I remain
broken
cacho orilla on a chata no su bocha un si orita chit un cho kong rang shu o ri lla ya chilla chu on gong su cha cho ka on ta la ta char cha la cor cho la ta ya cho te chi lo ti chi ya ya ya ya malla eijlla por onglaco ulla milla a nin yo.
12:33
mi ya ni si ya ca la si no no on no on no on no on no on no a la on no no on on on on on lo si za la za pa za ma za za za za za I si i si i si i si si isiisiiiiiiiisisisisi la si si la si si no on si is is on no si is is on no is si la va si ni ca ca ca ca ca ca ca ca ca ca ca si la la si si si la la si no on si la no in la si lla ya ya y ya ya la si si la si la ba baba ba bo sa ba ba babos o ba ba buaaaaaaaaaaaaaaaaaaaaaaaaa baaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa no solo sol o no ba se la sol pan za ñe ññe ññññe gru ñeñeñeñer ñññññññññe su lo la si no la is on ñe re po tam bién tu tu tu tu tu tu tu tu tu tu tu tu tu tu tu tu tu tu ty fsh fsh fsh fsh fsh fast fast fast fast fast
Onomatopoeia
the lawn is being neatly cut.
k k k k k k k
ц ц ц ц ц ц ц
щ щ щ щ щ
س س س س س س س س
ж ж ж ж ж ж ж ж ж ж ж
жду ш ш ш ш ш ш ш ш ш
шепотом дж дж дж дж
θ θ θ θ θ θ θ θ θ θ
θάλασσα шшш шумит
каждый раз когда я думаю о тебе hush hush ш ш ш ш
в моей голове о тебе θ θ θ θ θ
θάλασσα шц шц щц щц щц
в моей голове о тебе думаю
pppppppppppp hush pr´ pr´ pr´
в моей голове kh kh kh kh kh kh
ش ش ش ش ش ش ش ش
θάλασσα θάλασσα шумит
шумит л-л´ л-л´ л-л´leve
шумит lejos шумит inja в
моей голове шщшщцшщцшцщщ
σσα σσα σσα σσα ца ца ца
ца звон цимбал Herr, das ist Zeit
r-p´-p r-p´-p- erre- erre
recuerdo ou-ou-у-ou-ou-у you
in my head d d d´ д´ д д д´ д
до до завт ззззз здесь в моей
голове hush hush ш ш ш щ щ щ
س س س س س س س س س
θ θ θ θ θ θ θ θ θ θ θ θ
ð ð ð ð д m t t´тепло тепло
what is this warmth of your body that makes me surre-rre-re-rre
surrender-er-er-er-hush-hush
здесь сейчас ч ч ч ч ч ч ч ч ч ч ч ч
сч сч сч щ щ ж ж ж ж ж ж
ж ж ж жажда quench w w w w
what is that?
what is that? warmth
θαλασ θάλασσα θάλασσα
шумит в моей голове ц ц ц ц
звон цимбал о тебе kkkk-k´k-k´
ش ش ش ش ش ش ش ش ش
Condensation
re-re-re-schlapfen-schlafen
schloss-schloss-schloss-loss-loss-I found d d d
d d d d d d d d d d d d distance empty pt
pt pt bt bt bt bt bt bt breed brood flower bloom wither keep
moving don't stop bloom again it
is a cycle кл кл кл кл к´л´ к´л´
километры it feel ls ls ls ls ls
тл тл тл tlan líneas líneas
being here be be-бе be-бе
бег, ты погоня но я есмь бег
кккккккккккккккккккк
make me θάλασσα θάλασσα
Writing is a contagious activity, but not in a sense of human centred perception where virus and bacteria are seen as malignant and hazardous. But in a sense that your words are like organisms that land on my linguistic tissue. They emerge, mutate, evolve, become an autonomous organism that lives on their own
In me
Within me
Without me
The river cannot be stopped. The springs are nurturing it. I can hear, I can see, I can feel, I can miss, I can remember, I can think, I can write. I can share it without naming it. I can decipher a breeze of wind. I can encode a scent of lavender in the shadow of that tree.
SCORE 3: Paired writing/reading on benches
Attend to what happens. Me as something that
also happens. "I let myself happen.“
Part 1
ehemehem, dice
que es lo que sucede si me dejo suceder?
ehemehem, dice
rasenmäher mäht mäht mäht
wind weht weht weht
haut hemd lücke
vogelflatter flatter
i am empty, surprisingly empty today
and there is little i want to say
am i therfore more here?
it almost feels so
your presence feels quite light
now our pencils are both moving
while i hear someone schlapping by
erkenntnis: i can position this sensorial apparatus
however what i
i can turn away, to grasp some something different
and i can still chose what to note
today i chose not to
a hand on a tree trunk
the leash of a dog binding the two
sound of page turning
when i happen
cuando sucedo yo
brennt sonnencreme im linken auge
Part 3:
observe the notation you took of the other’s writing/reading
rhythm. Then begin to write again allowing to be influenced.
i pick up your shumit shumit
i cannot help to submit, tell me
what is this shumit
that sch sch schu sch
u
mith
makes me recall Shulamith
hair
someone dear
je je je however
i cannot help to
capture to render
to surrender to the systems given
French
Do you speak French or was this a Russian pie
Rhyming feels like go lucky child
What is it
w w w like Wasser
the English teacher’s mouth
trying to prevent an error
Watt, weather whatever
We are weather to each other
meiglabe
another sound bit, iPas want want to know
knof
meiglab
in this made up
meiglaigup
meglich möglicherweise
mög di
i mog di
one thing turning into a dialect of the other
SCORE 4
Pass the last line of your writing as a score to
another writer.
Andrea’s sentence: writing se dispersa en momentos
writing se
dis
per
sa
saperdis
en
el
mo
men
to
tomenmo elen
tomenlo dispersa!
Dispersenlo!
Sres momentos: Lones persas sid
sic!
me
de
jo
su
ce
der
dercesujo
jo jo
este…. este….
sucede cede este
momento
tomenseunmonte de momentos y dejense dejen me su
su yo
sucedense al momento
dis persenlo dispensen
dis is your right side
i am writing on your write side
right!
¡compre café molido café!
café vocal se dispersa
sucede en el momento
molido momento
déjense moler por
el momento de su mano derecha izquierda café
el temporizador dice
faltan 3 minutos
qué tal está el momento
qué onda, momento?
le quedan tres molidos para temporizar el café
tempo
ri
za
dor
rodazir riza la rueda
roda
om.
Part 2
and me how to
i beeeeeeeeeee ning
when i
qué
why
me
who’s
the I’s
who’s mine how who is me?
who’s how
traslapamos
where
the mine or
versa quién team
ella no mind no
they me
mine or to
I ? me
SCORE 5
writing with the last sentence of the broken phone
rot sea rotten the red river
how am I remade in the ‘we’?
words cling to each other immediately
rotten remade
rotting includes not only rot but German roooot
rot tot
both words allow to note nothing and everyting
like in a magnetic field
i pull out one and it will attract the other
there’s a pull of attraction inbetween
i note volcanic ash on the writer’s hat.
Paired writing/reading on benches
Notating ringing words from Lena’s reading
Part 1
score community
may if the i
does it fell
comes commune
Part 2
Taking up score community as score
for my writing
what’s the score of the score?
the score aligns perception, it orients,
it allows us to come together,
the score becomes
filter, organ, sunglass, linguistic prothesis,
meta-phore, behältnis, preposition
positioning, preparing, prepositioning
the i towards what is,
enabling, molding, tending, giving,
possibilitating
sich ausrichten, ausruhen in
Proposición II en 3 Partes: Leer e intercambiar ritmos del escrito del otro. Score: Yo o el mí como algo que sucede. Me dejo suceder.
Parte I En parejas sentadas en una banca lado a lado prestar atención a los sonidos y escribir 10 minutos en relación al Score.
¿Qué es dejarme suceder yo o a mí? Aparece esa pregunta, la miro, la escucho, la siento, me percato que ahí está. Me pregunto de dónde viene dicha pregunta. Respiro de modo profundo como si tuviera que entonarme con el cómo… >>> (>>> <<< encierra una intersección que atraviesa el continuo del escrito) pasa un perro, jadea, le aprieta el su collar <<< el cómo de mi respirar y escucharla. Al respirar de este modo me siento aire y mis ojos se postran en un tipo de cuadro visual que ve y no ve al mismo tiempo. Es como si buscara el mí o el yo en alguna parte de ese cuadro. El cuadro se compone del alto de diferentes árboles y plantas, magueyes, cactus y palmeras. Estas plantas se agrupan en dos montoncitos. Mi mirada se queda clavada atraída. >>> ¿qué comí? La dona, el atole, la fruta <<< atraída por algo poco claro en la punta izquierda de uno de los lados del árbol más alto. Me doy cuenta que casi siempre es ‘mi’ preferencia >>> el perro jadeante se escapa y eso me hace contenta <<< mi preferencia es fijar la mirada sin realmente ver, en plantas, hojas, árboles. Ahí donde paso la mirada >>> pero te fijas que toda la gente… escribiendo, relajándose <<< se cuela un cacho de cielo e incluso veo que aquello que jala mi mirada es el modo quizás en que esa punta del árbol casi como que toca el cielo, o quizás su contraste, o un cacho de su orilla, o su modo de ser un bloque en el espacio. Como quiera me hipnotiza.
Parte III Escribe en relación al score “yo o el mí como algo que sucede” pero bajo la influencia del ritmo o vibración del otro
Score III: Condensation in three parts. Write the last line you’ve just written and this will be your departing point for the following text.
Phrases:
“it’s more forces of attraction”
“one thing turning into a dialect, into another…”
Part I In a bench, side by side to another participant, write in relation to the previous score departing from the last line you wrote
Part II Swap the notebook with your pair. The reader reads your text text. The listener takes notes of the words that stand out.
Score IV: Bench writing in pairs
Part I: Come together with a new pair. Write for 5 minutes in relation to the prompt being the words from the ‘teléfono descompuesto’ score.
Score: “Un cacho de su orilla”
Un cacho de su orilla ong at chata ahorita. No es más que su bacha ung silla no orita cheeta un cho cong ro chu orilla ya lla illa no chilla la chilla no chilla cho un gong ta de dónde está no es de su cha cho ca ong t ata ta la ta ta la ta charcha la to cor Chong la ta latalla cho chote chocotilla cochinilla de su rilla mirilla raya ya mell malla borde rejilla por donde mirilla por la mira ong la co chi ni lla pilla mira uya niya at rita cuch i nillo.
Part II: Your pair reads their text. The listener writes down the ringing words that stand out or resonate
Camino
Way
What
In the
B R O K E N
Who
Medio
Remain
Paraxsegúnsinsosobretras
Way
Part III: Write for 5 minutes with the ringing words as the starting prompting place
in the camino por un way the de que se esparcía como broken path se caía por dónde lo que quedaba cómo hacia sí mismo de ese modo que ningún había para antes sopo puesto pensado a la co la bajo la sombra de ese road que no era más que un medio según iba a quedar como restos restantes que quedarían sin trastes que sobren para ni quien quiera como sea que sea porque según que sí o así lo dijo sin siquiera seguir la manera de ese medio mojado pantano sin sus sobres para mandar ni a nadie entonces por eso aquello ese medio en ese lodo sin pero sí se ahogó y burbuja no quedó.