University of Falmouth

… spaces are to be explored spaces lacks bounded by somethings not-beings becoming events surrounded by their silence shadows exist in wide open spaces (if some attention is paid) traverse re-travel map ignore overlook re-discover it is not possible to disregard the fatal intersection of time with space (Foucault 1967/1984)

time tick now ticking tick tick itself ticking to september’s solidity

hands freecatherinewheeling

digits flipflailingflick

threshing through infinite to blackhope of shape

m or ph M or pheus

explorations pour

end

ing

s

{sreniat on celbatius ot ni}



→▪ [a starting point]

decision – take part in work(mapping&writing)shop

entering

parallelwhite longwalls spaceful of strangers beanbags with bodies maps and markmakers papers and people

anticipating

introductions: names→performwrite↑student→Dartington↓artist↔ exploration↓energies←wonderings→performancewriting↓ document↑dancing↔words→tutor↓enthusiasms↔ experiences↑openess←info→structured↑ready→to→GO↔

beginning

joining

NOW leave

follow any straight line

as long as ten outdoor minutes

noting noticing

NOW return

markmaking into paper communal journeying… so different (noticings)… yet… familiar/similar (responsiveness)

resulting

to-fro-ings overmeanderlappings paintinkedness graphicwordings of movements recorded onto our longpaperlength

whiteness now technicolouring narratives sounding between parallel lines

questioning

?what are you mapping? why map how is a map {a map a tying down a fixing an instant a fencing a naming} who map when map what map how map what map ?can maps help people get lost? jumblingtoursroundSpACesNaMESCOnTOURSgraPHiCsrEaSonINgSOMisSIONSBOrrOwiNgssUbJECtiVEExcLuSIVeiLlEgiBLE

exploring

to make different sensing with silkness of charcoal and softness of pencil and scenting of crayon in smoothness of paper find pattern turn texture from pavement and roadroute and pathway and cobblestone patterns flow wallwards raise buildings and columns spill out onto air tracing patterns bluesounding from sax-singing water splash glintripple walking harmonics of bridging cityscape live-living movement through senses



Re-visiting something after a while has passed can bring another way of seeing – always worth doing if/when possible. (Performance Writing workshop exploring mapping and movement at PW12, Arnolfini, May 4-6, inspirationally lead by Melanie Thompson (performance/installation artist) and Christos Polymenakos (writer/dancer), and bringing together an exceptional group of participants.)

Busybusy couple of weeks starting with a stimulating and eclectic weekend of Performance Writing at Arnolfini, Bristol, and then ten days in Shetland, where landsounds and seaskylife make indelible marks:

SKY

massiveness

cloud encompassing grey white towering blue bright lowering silverlight darkening compassionless gullflecked

changeling wind whipping gusting whispering still gripping taunting singing

PEE-wit-wit-wit infinite

imprisoning sunrain intimidating sleethail shapeshifting snowshadowing

vast

wonder full kitiwakekitiwakekitiwake

thermalwinged screech ascend higherhigher to swoop dive through sprayscent

a detail insignificant a matchbox airplane rides rodeo

LAND

stubborn chin jutting

layered

retreating

defiant in isolate peat promontory

fire lava millennia brown peat scree stream stone heather lone tree grassgreening settlers sheep working obstinate pony lamb crofter communicating

invadestroyers

peat smoke gripping forcing wall broch home clearance

ruinSurvival

fiddling melody bowing dancing corbie laverock draatsie trow

horizon wandering fence poles peat tractor rabbit with tattie musical oo

bonxie maalies plivver weaving dialect naming enduring LAND

SEA

NorthwatersAtlantic surgesurroundings glitterintently mergingsubsoundings

driftingoffoaming wavespray upthunder

gripping white gullcliff marinate harbour tangling migrants shaping with seaweed

sand pebble shellpool urchin crab scallop

islands to islets skerries and ferries

causeway with ropenets voesounds oil rhythm

tankerandfishboatandcruiseshiproundrockstacks

musselkelpselkiefishpottedlobster

houselightbyinkbluearchguardedbybrigdi

maali da seacraas minke returning

AtlantictakesNorthsalt surgessubsoundings glitterintently mergingsurroundings

waves spray up thunder foaming then drifting



Marcel Un-Caged

coming upon a melancholic aBsence

good foR nothing immobility

resounding nOn-communication

through pOetry Marcel

transmogrifieD

flaring feaThered wings and claws

unmuzzling arnarcHic allegorical assemblages

eagle-riding thermAls over hollow shell towers

performing thought rE-toothing language

to gnaw esoteric tRuths onto

headstoned structureS bleachedboney institutions

Q: Language performs twenty-four times better when washing away.

A: Sometimes?

ps Performance Writing weekend at Arnolfini, Bristol 4 – 6 May www.arnolfini.org.uk

questions seed questions crop questions

questionable relationships

reading↔writing writer↔reading reader↔writing writer↔reader writing↔sounding sound↔read reading↔sounding

h’m…

What colour are your eyes?

what colour watches my thoughtfollowing linear left to regimented right jump

down hopskip

down to

the last letterz

[start, return to] and all over

again

[return] shuffle in your seat

smile awareness of self as reader thinking about the colour of your eyes your smile my/your voice asking the colour of your/my eyes eyes settling

Here X and here XXX continue XXXXXXXXXXX

Break/The/Gaze

Do you read this out loud?

twis-ting-eve-ry-syll-a-ble-like-butt-er-weft-through-your-tongue

loud forcing of air to vibrate feeling bzz tckl text breath through throatsinusmouthtonguepalateteethspringLIPS

Probably not

Why not

try (no need for embarrassment no medusa spectating here we’re all in this together)

my shapes your sounds potentially prising words from fluently stainless interior space to shift for themselves amongst she sells sea shells cough up splutter red lorry yellow lorry stutter squeak everyday spasms expelling reason and will and will perhaps will free to find the colour of my voice free for you to voice your voice and place it

soundly in ears

inside and outside

all at the same time