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Another Audio recording

Also 14 minutes.

Seven Questions

This recording took place over 4 months in 2017. Artists asked 8 questions in October 2016 after a presentation on Documenting Experiential Authorship. Some of the questions had to do with authorship, some with documentation, some with identity. I transcribed and memorized the questions. In the following months I went into the studio and recorded myself attempting to answer the artists' questions, while moving.

During this process my answers changed.

During this process I stopped answering one of the questions. 

This is a document of four of my twenty five attempts to answer these seven (well, eight) questions. 

The questioners were: Ilse, Louise, Klara, Yari, Adam, Kim, Hanah, Andreas (in order of appearance).

Liminal Aminates is a transcription of a spoken essay, consisting of 50 pages. It has been transcribed from voice to text to voice and back again many times between 2013-2018. Each transcripition has been an editing process resulting in a performed lecture, which was then transcribed into a text and re-performed, etc. The essay is poised between expecting a listener and expecting a reader.

This final version has been trascribed to a notebook, inviting the hand into the process.

Liminal Animates Voiced is a voice recording of this notebook transcription, with a duration of 1 hour, 1 minute and 38 seconds.

Page #21 and Page #34 are stories and do not have an accompanying transcription.

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Audio recording 14 minutes

Sydney, Warsaw, Berkeley 2016

This audio recording is a story, extracted from two documentary performances and one act of documentation, all in 2016.

The performance in Sydney was initiated by Adrian Heathfield for the Sydney Biennale as one part of Heathfield's project Ghost Telephone. The performance in Warsaw was initiated by Boris Charmatz as part of his ongoing project Expo Zero. 

The act of documentation was a family project, initiated by many, but mostly by Thomas Francis Parkinson 1920-1992.

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Audio recording

7 minutes

The Glitch 2015

This short essay is a condensation of extracts from the presentation of Damaged Fragment, created and performed for Boris Charmatz's 20 Dancers for the 20th Century at The Tate, London and Frankfurt (2015-2016). Damaged Fragment was a movement-text installation with a duration of 4-6 hours. The movement material and rehearsal processes referenced are from Rosas' piece Cesena. The Glitch was written and performed at the invitation of Noémie Salomon for the book launch of Danse - A Catalogue, June 4 2015.