It runs a bit like a radio program, with no linear progression, openly about yourself and others. Obviously, about everydayness, experience, senses. It plays with positions at large.

There is also an emphasis on story-telling and conversation. A conversation in a smaller group or larger group, articulating one’s presence in it. But presence can be affirmed and sustained with not too many words either. An active presence in gestures, silences, connections between things. Or a restful presence.

How can we rest together and be attentive to each others presence?

And how can we play with our positions in relation to each other and our own work? Can a conversation allow new relations to be invented that were not there before?

How decisions are being made? What are the chains and nets of decisions in a sculpture? We speak and read and speak, and walk, and dance.

(— I can feel that my thought is leading me to nowhere

Where is that nowhere? I want to talk about it.)

‘To think is always to follow the witch’s flight. The witch is an interesting figure if we remember that her broom had no motor, that it was flying because of forces that she was able to invoke and convoke, but not define as her own, as her property. If the witch is not cautious, if she thinks that what makes her fly belongs to her, if she ignores or forgets the required protection formulas, she will be swept away. (Isabel Stengers on Giles Deleuze)

we can start anywhere - at the school or in your own palm, and it will always bring us somewhere else, perhaps more relevant or less relevant, sometimes new, sometimes not entirely so, but always investigable.

Attention is in the core of this practice: it respects formlessness, trusts confusion, trusts body as knowledge, plays with automatism, habits, improvisation it trusts guests

A gentle experiment between the everyday and the event , cross-cut by writing and dancing, in papier mache or in simply saying it.