Choreographic Propositions for Mixing

This bundle of propositions is to be wrapped and unwrapped, it will be posted "in process" and it will keep changing from the moment it is posted until tomorrow noon. It will work with a practice of listening-feeling thought in the making, as if it would be something that's already going around, happening, forming, as a sea from which you would catch the foam of its crashing waves.

concept : THE FEELING OF TIME

back-pocket note: some people will bring "things" "contributions to share", but consider that perhaps these things are not complete tangibilities, perhaps these are things that happen in-relation or excesses, so it may be a good thing to consider this when reading below.

enable condition: ensemble

tandem: there will be a mixEr in space, the invitation for those who bring sound (or more than sound) is to approach this mixEr by bringing a 5 seconds bit of your "thing" so that it can be played and mixed through-with the mixEr. hey. mixEr may even make live recordings = )




A TENTATIVE SCORE:

fast-track: you will arrive in different times, notice how you enter, grouping you will find a spot where you can group or form an ensemble (also a more-than-human ensemble) with other 2 to 6 people. you will each share a bit of what you bring (not necessarily with language but not necessarily not). this will be a kind of intimate pre show and tell. give it 5 to 7 minutes. does it need more time? notice what happens. or listen to how the listening is already happening. at some point during this small 7' show and tell, as a group, collect snapshots of HOW to share with the rest of the group your thing(s) (perhaps by now already mixed with other things). in the same groups, come up with a way to relate the MIX you bring, with the space and the space things that are around, for example, patches of colour, papers, cubings, etc. this may need that you move things around. re-shift the space. mix the space and things around. re-fresh the field. follow the tendencies of the things you move and move-with. listen to the ecology rather then to a simple moving from here to there. change the space. find a way to build a new set up for sharing/showing your mix. notice that perhaps, before you know it, your mix will get mixed. or not. as a grouping, build a space with the things in the space for that which you bring. this will become the setting up of space for the sharing of contributions. take around 40 minutes for the set up. try your things in different ways with the help of your group. try different options. notice what permeates from other groups. what other assemblages self-organize? exit at times - duration: 13 breaths then come back, while exiting, visit other ensamble-ings. perhaps SPREAD the word(-sounds) of your setting so that others from other groups may co-compose with you or come visit you. for example, perhaps you set up a small screen under the table for projecting your thing and perhaps someone from other group hears that you are setting up that space so that they could come and join you with the set up because they could also project their thing there. this will create more-than-one ways to MIX and Re-Mix. PAUSE. Now. what if the setting up is already a way of showing? perhaps during the set up, a catapult for the how of the next will event itself. live the encounter. FORWARD.

long and multiple track:

 the it is always a how question proposition

 what if a how to enter would be a way of listening

 listening not to what we listen 

 but to actually what we can't truly not (h)ear

 perhaps listen to the way (or another way) that you could enter the space-event

 how does a body-mix crosses the threshold?

perhaps to cross
one needs to actively forget
that one knows what one knows
and invent a technique to actively forget

the we all arrive in tandems proposition

we all arrive at different times

but some will conincide

feel the pull for grouping 

with those that arrive and land at a time

that welcomes your landing and arriving time(s)

or perhaps group with the tendencies of the space,
or a colour affinity
or a material texture
or a sound
or a non sound sound

tend to the more-than-human ensembles

form groups of 3 to 5 to 7 (this is a rhythm also)
and orient in-relation to space and its things around

the introduce //// tapping into proposition

-with your grouping // new assemblage 

share what you bring - show & tell just a bit about it

so that in group you find a way to 

tap into - build - a space for your MIX-tap(e)s

the setting up proposition

in-relation to the spaze (creaturings) things

that are already there

how your mix mixes -with what's already

there in the space

put it in-relation

shift things in the space following the tendencies

that are already suggested 

craft a set up 

that houses your-your-your mixes mixing

the spre<d proposition

walk around
spread the       vvv  v       v   o          o         o                           o      ice
visit
come back

a composition may already be taking time-place(ings)

what if the spread is not after
what if the spread already started
in the middle
of the crossing of the threshold

the how of the next proposition

what if the spread is not after
but what if it could propel what comes after (you)

listen to what's forming
co-compose, mix and re-mix with the mix

listen to the how of the next
instead of trying to organize

"what if the question of neuro-diversity is already the question of blackness" R.
the question of difference
the question of that which does not conform
to what's expected
or to the dominant frames
that which does not consent
to be single
because it is already in-relation
unseparable
mixed

the question of the how of the next propelled by the spread
by that which is already in-relation

share and dis-organize

the wrapping up poro-position

within the setting up of the space
there will be a spaze where
after or at some point within the sharing,
you may wrap your thing

and leave it there
for others to un(w)rap

the words don't go there disproporsiontition









words don't go there