No subject

Sat Oct 8 08:16:18 EST 2011

We are on the extreme promontory of the centuries! What is the use of
looking behind at the moment when we must open the mysterious shutters of
the impossible? Time and Space died yesterday. We are already living in the
absolute, since we have already created eternal, omnipresent speed
(Marinetti 1909: n.p.).

As I outlined in the first chapter, the process of adaptation to new
rhythmic parameters of production, entertainment and socialisation during
the late nineteenth century created new perceptions for the idea of motion.
Consequently, during the early and mid-twentieth century this process becam=
e
a fast adjustment to speed increment imposed by constant technological
developments. This transformation of the productive model and the new
technical innovations determined a new social understanding of time and
space.

The continuous upgrading of motorcars, trains, and communication systems, i=
n
conjunction with more complex machineries on the work floor generated a
sense of dynamism, modifying the modern experience of speed and velocity.
The common idea of disciplining the body for production and harmonising the
body to the pace of the machine, in a rhythmic ideal, was now pushed toward
the possible =96 and impossible =96 limits of velocity. The constant
transformations on the work floor tended toward the increment of velocity
leading to a new paradigm of quick production and fast consumption: Workers
that needed to produce faster and consume faster. More than ever they forme=
d
part of a crescendo culture of staccato movements, with extended labouring
hours, and strictly determined social and resting times.

And finally Part 3=85 ideas on Nano-Second Culture:

These significant technological transformations that arise with the creatio=
n
and development of the WWW, mobile phones, and satellite communication
determine a process of abstraction, speed increment, and miniaturisation of
technological devices. This process leads to a system that =93seems
essentially timeless=94 (Hookway 1999: 15), constantly looking for the idea=
l
real-time experience in a non-stoppable hastening of the social pace.

Jeremy Rifkin relates the informatics term =93nanosecond=94 to a culture
primarily based on computer temporal measurement, where time is =93organize=
d
at a speed beyond the realm of consciousness=94 (Rikfin 1989: 23). For Rifk=
in,
a nanosecond =96 a billionth of a second =96 can be manipulated, theoretica=
lly
conceived, and applied to everyday actions, but the intricate impossibility
to experience it marks a turning point in the social relation to time.

The nanosecond culture brings with it a new and more virulent form of
reductionism. The clockwork universe of the industrial age is being
replaced, in fast order, by the computational universe of the postindustria=
l
age. For several hundred years Western culture has defined mind and matter
in mechanistic terms, reducing all of reality to the operating principles o=
f
clockwork technology. Now, a new journey begins (=85) We are entering a new
temporal world where time is segmented into nanoseconds, the future is
programmed in advance, nature is reconceived as bits of coded information
and paradise is viewed as a fully simulated, artificial environment (Rikfin
1989: 218)

*-- *

*
*

So, under my perspective, there has been a clear effect of technologies ove=
r
the social idea of speed and velocity =96 up to a point where time
organisation can=92t even be experienced, but theoretically approached =96
therefore, one of the aims of my research is to became aware of this
history, in order to understand where does it comes from and how it affects
our own idea on artistic practices in the XXI century=85 Performing arts th=
at
utilise technology as a core element for its creation form part of a vast
history of =93acceleration=94. So, going back to the beginning of this
discussion, when Michael Weiss presented Prantl=92s question:

>>science and art have to forge a privileged partnership in the process of =
a
decelerated discourse fostering consciousness in search for alternatives.?

Then, it becomes necessary to understand the intrinsic context of
development, and how deceleration becomes a sort of challenge or completely
new approach to the idea of production. Technical production, social
production, artistic production, and so on=85
In order to think outside the box, becomes necessary to understand what the
limits and context of that box are, so history becomes critic, and to
understand means to take part. How digital performance can provide a
different experience of social pace? How digital media helps to shape new
ideas about time and speed?  How technologies =96 its historical context, a=
nd
social awareness =96 can serve as a tool to deal with the notion of
deceleration? How the connection between performing arts and technological
development can be critically approached in relation to time, acceleration,
and social pace?
Lots to reflect on=85

Best,

Jennifer McColl

On Wed, Oct 12, 2011 at 3:00 AM, <empyre-request at lists.cofa.unsw.edu.au>wro=
te:

> Send empyre mailing list submissions to
>        empyre at lists.cofa.unsw.edu.au
>
> To subscribe or unsubscribe via the World Wide Web, visit
>        http://lists.cofa.unsw.edu.au/mailman/listinfo/empyre
> or, via email, send a message with subject or body 'help' to
>        empyre-request at lists.cofa.unsw.edu.au
>
> You can reach the person managing the list at
>        empyre-owner at lists.cofa.unsw.edu.au
>
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of empyre digest..."
>
>
> Today's Topics:
>
>   1. A clarification/expansion. (David Hughes)
>   2. Re: condensacion/extrusi?n (Johannes Birringer)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Tue, 11 Oct 2011 16:51:35 +0100
> From: "David Hughes" <davidhughes19 at btinternet.com>
> To: <empyre at lists.cofa.unsw.edu.au>
> Subject: [-empyre-] A clarification/expansion.
> Message-ID: <000601cc882d$aaa46c70$ffed4550$@btinternet.com>
> Content-Type: text/plain; charset=3D"us-ascii"
>
> Hello you all.
>
> I'm not meant to be presenting until week four but well, things have
> started
> to churn about so here goes.
>
>
>
> Somewhere back there I changed my email address and so my posts to empyre
> weren't getting through.
>
> Anyway I posted one line of a short text I had posted earlier just to tes=
t
> the thing. oh my.  . etc .. etc . etc.
>
> Anyway. The line was not meant to be a gnomic utterance so here's the ful=
l
> thing.
>
>
>
> "There was the big bang.
>
> The universe accelerated and expanded.
>
> Then it slowed down. Consolidated, condensed, contained. Expanding still.
>
> Then it started to accelerate again. Faster expansion.
>
> That's where we are now."
>
>
>
> Hmm well not so much even when full.
>
>
>
> Anyway the point was this. The place I'm interested in here is the middle=
,
> the centre. Oh, that could be mis-leading.
>
> The middle line.
>
>
>
> That place where there is expansion and contraction AT THE SAME TIME.
> Acceleration and deceleration. Where did the 'c' go?
>
> Economy and profligacy.
>
>
>
> And as I try and find the binaries for those terms the word 'condense'
> strikes me as extremely interesting. Perhaps that word catches what
> interests me here, the opposites caught in one moment, one state, one
> material, one posture, one position. Or perhaps, rather, both at once.
>
>
>
> Perhaps in the moment of condensation there is both shrinkage and
> expansion.
> There is certainly a change of state. Where does one state end and anothe=
r
> begin? When is matter gas and when liquid?
>
>
>
> So perhaps where this is taking me is a question about
> acceleration/deceleration (where did the 'c' go? Perhaps it evaporated).
> When does the state of the body change from acceleration to deceleration?
> What is the consequence of both of those states co-existing in a tension,
> in
> a possibility?
>
>
>
> So maybe that's where I start. That moment of tension. Paradoxically, tha=
t
> place which, in our physical improvisations, we called 'neutral'.
>
>
>
> OK. Well let's see if this makes it through the door keepers.
>
>
>
> Best wishes to you all and many, many thanks to JB for calling my head fr=
om
> out of my shell.
>
>
>
> Where did the 'c' go? It evaporated. It condensed. It 'one-danced'.
>
>
>
> David Hughes
>
>
>
> PS If you want to see any of the stuff I've been doing over the last 5
> years
> please go to:
>
> Http://www.dhbricolage.net
>
>
>
>
>
>
>
>
>
> -------------- next part --------------
> An HTML attachment was scrubbed...
> URL: <
> http://lists.cofa.unsw.edu.au/pipermail/empyre/attachments/20111011/d0628=
9c6/attachment-0001.htm
> >
>
> ------------------------------
>
> Message: 2
> Date: Tue, 11 Oct 2011 18:19:45 +0100
> From: Johannes Birringer <Johannes.Birringer at brunel.ac.uk>
> To: soft_skinned_space <empyre at lists.cofa.unsw.edu.au>
> Subject: Re: [-empyre-] condensacion/extrusi?n
> Message-ID:
>
>  <DF657B70CB20304DB745D84933F94B1E01AD4F6E3A at v-exmb01.academic.windsor>
> Content-Type: text/plain; charset=3D"iso-8859-1"
>
>
>
> dear all
> oh, David, no need to worry, anyone can join in at any point,  when you
> feel urged to write.....
> one could have introduced the whole ensemble of actors at beginning of
> october, but we tried to start actually with the physical workshop, then
> with the choreodancers, and gradually we're expanding, and we hope to hea=
r
> also from the empyre resonant community how these thought movements here =
are
> received, some of you have already entered, welcome to you all.
>
> / and I appreciate that Jack and Fabrizio went ahead on Sunday to try and
> condensate the thematic cores,
> and that Jack, Gordana, Claudia and Niliufer have opened a new round of
> discussion with such fascinating statements about their work and their
> research.
>
> Johannes
>
>
>
>
>
>
> ------------------------------
>
> _______________________________________________
> empyre mailing list
> empyre at lists.cofa.unsw.edu.au
> http://www.subtle.net/empyre
>
> End of empyre Digest, Vol 83, Issue 11
> **************************************
>

--0015175cf9aae051f004af1bc2e0
Content-Type: text/html; charset=windows-1252
Content-Transfer-Encoding: quoted-printable

Hello everybody and thanks Johannes=
 for the
invitation to join the list.=A0<sp=
an lang=3D"EN-US">I=92m sorry took me a little while to put my hands
into it as I=92m recently moving to a different country, but have been read=
ing
your thoughts with great enthusiasm!!!

<p class=3D"MsoNormal"><span lang=3D"EN-US"><font class=3D"Apple-style-span=
" face=3D"arial, helvetica, sans-serif">=A0</font></span></p>

<p class=3D"MsoNormal" style=3D"margin-bottom:6.0pt;mso-pagination:none;mso=
-layout-grid-align:
none;text-autospace:none"><font class=3D"Apple-style-span" face=3D"arial, h=
elvetica, sans-serif"><span lang=3D"EN-US">As Johannes briefly mentioned be=
fore, my actual
research focuses on the </span>analysis of work-science
studies and the systematisation of productive processes, the integration of=
 new
technical developments and the measurements of body=92s rhythms and capacit=
ies.
Thus, integrates a wide range of perspectives: from early photographic
experiments, film studies, entertainment culture, vaudeville, mass ornament=
,
body-culture (Weimar), digital media, networks, digital performance=85 and =
so on.</font></p>

One of the key questions
throughout my research is precisely=A0a double-sided adaptation between
movement style and technical development, in order to open up a critical
analysis on the utilisation of technology within performing arts. Funnily
enough, I started each part of my investigation with a =93sort of=94 introd=
uction on
the socio-cultural idea of rhythm and speed, something that could serve as =
a
context from where to approach the idea of =93acceleration=94 and from ther=
e
question/analyse the idea of =93deceleration=94 and the role of performing =
arts within
this context=85 here some bits I would like to share:

<p class=3D"MsoNormal"><font class=3D"Apple-style-span" face=3D"arial, helv=
etica, sans-serif">=A0</font></p>

<p class=3D"MsoNormal"><font class=3D"Apple-style-span" face=3D"arial, helv=
etica, sans-serif">=A0</font></p>

<p class=3D"MsoNormal"><font class=3D"Apple-style-span" face=3D"arial, helv=
etica, sans-serif">From Part 1=85 ideas on Rhythm:</font></p>

<p class=3D"MsoNormal"><font class=3D"Apple-style-span" face=3D"arial, helv=
etica, sans-serif">=A0</font></p>

During the late nineteenth=
 and the beginning of the
twentieth century (=85) the continuous appearance
of technological devices in the social arena completely modifies the common
experience of speed and velocity. The introduction of the motorcar and the
train, the vast distribution of electricity, the arrival of the roller coas=
ter,
the public=92s acquaintance with motion images projected, and new machines =
in the
workplace generated a social sense of dynamism, a new way to understand soc=
ial
rhythms, entertainment, visual effects, and the core sense of motion. Consequently, the appearance of mot=
or machines on the
work-floor changed the whole perception of labour rhythms, inducing a massi=
ve
transformation in the way the body was perceived and organised within the
workplace, and from there, influencing a wide range of changes in society. =
This
process of fragmentation and mechanisation of a rhythmic sense crosses over
different fields such as physiology, medicine, physical education, psycholo=
gy,
entertainment, and art. Therefore it can be said, that the notion of =93rhy=
thm=94
plays a relevant part within European and American modern understanding of =
the
relation between the body and technological development, especially at the =
turn
of the century.

<p class=3D"MsoNormal"><font class=3D"Apple-style-span" face=3D"arial, helv=
etica, sans-serif">(=85)</font></p>

<p class=3D"MsoNormal"><span lang=3D"EN-US"><font class=3D"Apple-style-span=
" face=3D"arial, helvetica, sans-serif">=A0</font></span></p>

<p class=3D"MsoNormal"><span lang=3D"EN-US"><font class=3D"Apple-style-span=
" face=3D"arial, helvetica, sans-serif">From Part 2=85 Ideas on Speed:</fon=
t></span></p>

<p class=3D"MsoNormal"><span lang=3D"EN-US"><font class=3D"Apple-style-span=
" face=3D"arial, helvetica, sans-serif">=A0</font></span></p>

We
are on the extreme promontory of the centuries! What is the use of looking
behind at the moment when we must open the mysterious shutters of the
impossible? Time and Space died yesterday. We are already living in the
absolute, since we have already created eternal, omnipresent speed (Marinet=
ti 1909: n.p.).

As I
outlined in the first chapter, the process of adaptation to new rhythmic
parameters of production, entertainment and socialisation during the late
nineteenth century created new perceptions for the idea of motion.
Consequently, during the early and mid-twentieth century this process becam=
e a
fast adjustment to speed increment imposed by constant technological
developments. This transformation of the productive model and the new techn=
ical
innovations determined a new social understanding of time and space.=

The
continuous upgrading of motorcars, trains, and communication systems, in
conjunction with more complex machineries on the work floor generated a sen=
se
of dynamism, modifying the modern experience of speed and velocity. The com=
mon
idea of disciplining the body for production and harmonising the body to th=
e
pace of the machine, in a rhythmic ideal, was now pushed toward the possibl=
e =96
and impossible =96 limits of velocity. The constant transformations on the =
work
floor tended toward the increment of velocity leading to a new paradigm of
quick production and fast consumption: Workers that needed to produce faste=
r
and consume faster. More than ever they formed part of a crescendo culture =
of
staccato movements, with extended labouring hours, and strictly determined
social and resting times.

<p class=3D"MsoNormal"><font class=3D"Apple-style-span" face=3D"arial, helv=
etica, sans-serif">=A0</font></p>

<p class=3D"MsoNormal"><font class=3D"Apple-style-span" face=3D"arial, helv=
etica, sans-serif">And finally Part 3=85 ideas on Nano-Second
Culture:</font></p>

<p class=3D"MsoNormal" style=3D"margin-bottom:6.0pt"><font class=3D"Apple-s=
tyle-span" face=3D"arial, helvetica, sans-serif">=A0</font></p>

These
significant technological transformations that arise with the creation and
development of the WWW, mobile phones, and satellite communication
determine a process of abstraction, speed increment, and miniaturisation of
technological devices. This process leads to a system that =93seems essenti=
ally
timeless=94 (Hookway 1999: 15), constantly looking for the ideal real-time
experience in a non-stoppable hastening of the social pace.

Jeremy
Rifkin relates the informatics term =93nanosecond=94
to a culture primarily based on computer temporal measurement, where time i=
s
=93organized at a speed beyond the realm of consciousness=94 (Rikfin 1989: =
23). For
Rifkin, a nanosecond =96 a billionth of a second =96 can be manipulated,
theoretically conceived, and applied to everyday actions, but the intricate
impossibility to experience it marks a turning point in the social relation=
 to
time.

The nanosecond culture brings with
it a new and more virulent form of reductionism. The clockwork universe of =
the
industrial age is being replaced, in fast order, by the computational unive=
rse
of the postindustrial age. For several hundred years Western culture has
defined mind and matter in mechanistic terms, reducing all of reality to th=
e
operating principles of clockwork technology. Now, a new journey begins (=
=85) We
are entering a new temporal world where time is segmented into nanoseconds,=
 the
future is programmed in advance, nature is reconceived as bits of coded
information and paradise is viewed as a fully simulated, artificial environ=
ment
(Rikfin 1989: 218)

<p class=3D"MsoNormal" style=3D"margin-bottom:6.0pt"><b style=3D"mso-bidi-f=
ont-weight:
normal"><font class=3D"Apple-style-span" face=3D"arial, helvetica, sans-ser=
if">--=A0</font></b></p><p class=3D"MsoNormal" style=3D"margin-bottom:6.0pt=
"><b style=3D"mso-bidi-font-weight:
normal"><font class=3D"Apple-style-span" face=3D"arial, helvetica, sans-ser=
if"><br></font></b></p>

So, under my perspective, =
there has been a clear
effect of technologies over the social idea of speed and velocity =96 up to=
 a
point where time organisation can=92t even be experienced, but theoreticall=
y
approached =96 therefore, one of the aims of my research is to became aware=
 of
this history, in order to understand where does it comes from and how it
affects our own idea on artistic practices in the XXI century=85=A0<=
span class=3D"Apple-style-span" style=3D"font-family: arial, helvetica, san=
s-serif; ">Performing arts that utilise technology as a core element for it=
s
creation form part of a vast history of =93acceleration=94. So, going back =
to the
beginning of this discussion, when Michael
Weiss presented Prantl=92s question:=A0
&gt;&gt;science and art have to forge a privileged partnership in the proce=
ss
of a decelerated discourse fostering consciousness in search for alternativ=
es.?

<p class=3D"MsoNormal" style=3D"mso-pagination:none;mso-layout-grid-align:n=
one;
text-autospace:none"><span lang=3D"EN-US"><font class=3D"Apple-style-span" =
face=3D"arial, helvetica, sans-serif">=A0</font></span></p>

Then, it becomes necessary=
 to understand the intrinsic
context of development, and how deceleration becomes a sort of challenge or
completely new approach to the idea of production. Technical production, so=
cial
production, artistic production, and so on=85 
In order to think outside the box, becomes necessary to understand what the
limits and context of that box are, so history becomes critic, and to
understand means to take part. How digital performance can provide a differ=
ent
experience of social pace? How digital media helps to shape new ideas about
time and speed? =A0How technologie=
s =96 its historical context, and social awareness =96 can serve as a tool =
to deal with the notion of
deceleration? How the connection between performing arts and technological
development can be critically approached in relation to time, acceleration,=
 and
social pace? 
Lots to reflect on=85Best,<=
/p>
<fon=
t class=3D"Apple-style-span" face=3D"arial, helvetica, sans-serif" style=3D=
"font-family: arial; ">Jennifer McColl

<font class=3D"Apple-style-span" face=3D"arial, helvetica, sans-serif"><br>=
</font><div class=3D"gmail_quote"><font class=3D"Apple-style-span" face=3D"=
arial, helvetica, sans-serif">On Wed, Oct 12, 2011 at 3:00 AM,  <span dir=
=3D"ltr">&lt;<a href=3D"mailto:empyre-request at lists.cofa.unsw.edu.au">empyr=
e-request at lists.cofa.unsw.edu.au</a>&gt;</span> wrote:<br>
</font><blockquote class=3D"gmail_quote" style=3D"margin:0 0 0 .8ex;border-=
left:1px #ccc solid;padding-left:1ex;"><font class=3D"Apple-style-span" fac=
e=3D"arial, helvetica, sans-serif">Send empyre mailing list submissions to<=
br>
 =A0 =A0 =A0 =A0<a href=3D"mailto:empyre at lists.cofa.unsw.edu.au">empyre at lis=
ts.cofa.unsw.edu.au</a><br>
<br>
To subscribe or unsubscribe via the World Wide Web, visit<br>
 =A0 =A0 =A0 =A0<a href=3D"http://lists.cofa.unsw.edu.au/mailman/listinfo/e=
mpyre" target=3D"_blank">http://lists.cofa.unsw.edu.au/mailman/listinfo/emp=
yre</a><br>
or, via email, send a message with subject or body &#39;help&#39; to<br>
 =A0 =A0 =A0 =A0<a href=3D"mailto:empyre-request at lists.cofa.unsw.edu.au">em=
pyre-request at lists.cofa.unsw.edu.au</a><br>
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You can reach the person managing the list at<br>
 =A0 =A0 =A0 =A0<a href=3D"mailto:empyre-owner at lists.cofa.unsw.edu.au">empy=
re-owner at lists.cofa.unsw.edu.au</a><br>
<br>
When replying, please edit your Subject line so it is more specific<br>
than &quot;Re: Contents of empyre digest...&quot;<br>
<br>
<br>
Today&#39;s Topics:<br>
<br>
 =A0 1. A clarification/expansion. (David Hughes)<br>
 =A0 2. Re: condensacion/extrusi?n (Johannes Birringer)<br>
<br>
<br>
----------------------------------------------------------------------<br>
<br>
Message: 1<br>
Date: Tue, 11 Oct 2011 16:51:35 +0100<br>
From: &quot;David Hughes&quot; &lt;<a href=3D"mailto:davidhughes19 at btintern=
et.com">davidhughes19 at btinternet.com</a>&gt;<br>
To: &lt;<a href=3D"mailto:empyre at lists.cofa.unsw.edu.au">empyre at lists.cofa.=
unsw.edu.au</a>&gt;<br>
Subject: [-empyre-] A clarification/expansion.<br>
Message-ID: &lt;000601cc882d$aaa46c70$ffed4550$@<a href=3D"http://btinterne=
t.com" target=3D"_blank">btinternet.com</a>&gt;<br>
Content-Type: text/plain; charset=3D&quot;us-ascii&quot;<br>
<br>
Hello you all.<br>
<br>
I&#39;m not meant to be presenting until week four but well, things have st=
arted<br>
to churn about so here goes.<br>
<br>
<br>
<br>
Somewhere back there I changed my email address and so my posts to empyre<b=
r>
weren&#39;t getting through.<br>
<br>
Anyway I posted one line of a short text I had posted earlier just to test<=
br>
the thing. oh my. =A0. etc .. etc . etc.<br>
<br>
Anyway. The line was not meant to be a gnomic utterance so here&#39;s the f=
ull<br>
thing.<br>
<br>
<br>
<br>
&quot;There was the big bang.<br>
<br>
The universe accelerated and expanded.<br>
<br>
Then it slowed down. Consolidated, condensed, contained. Expanding still.<b=
r>
<br>
Then it started to accelerate again. Faster expansion.<br>
<br>
That&#39;s where we are now.&quot;<br>
<br>
<br>
<br>
Hmm well not so much even when full.<br>
<br>
<br>
<br>
Anyway the point was this. The place I&#39;m interested in here is the midd=
le,<br>
the centre. Oh, that could be mis-leading.<br>
<br>
The middle line.<br>
<br>
<br>
<br>
That place where there is expansion and contraction AT THE SAME TIME.<br>
Acceleration and deceleration. Where did the &#39;c&#39; go?<br>
<br>
Economy and profligacy.<br>
<br>
<br>
<br>
And as I try and find the binaries for those terms the word &#39;condense&#=
39;<br>
strikes me as extremely interesting. Perhaps that word catches what<br>
interests me here, the opposites caught in one moment, one state, one<br>
material, one posture, one position. Or perhaps, rather, both at once.<br>
<br>
<br>
<br>
Perhaps in the moment of condensation there is both shrinkage and expansion=
.<br>
There is certainly a change of state. Where does one state end and another<=
br>
begin? When is matter gas and when liquid?<br>
<br>
<br>
<br>
So perhaps where this is taking me is a question about<br>
acceleration/deceleration (where did the &#39;c&#39; go? Perhaps it evapora=
ted).<br>
When does the state of the body change from acceleration to deceleration?<b=
r>
What is the consequence of both of those states co-existing in a tension, i=
n<br>
a possibility?<br>
<br>
<br>
<br>
So maybe that&#39;s where I start. That moment of tension. Paradoxically, t=
hat<br>
place which, in our physical improvisations, we called &#39;neutral&#39;.<b=
r>
<br>
<br>
<br>
OK. Well let&#39;s see if this makes it through the door keepers.<br>
<br>
<br>
<br>
Best wishes to you all and many, many thanks to JB for calling my head from=
<br>
out of my shell.<br>
<br>
<br>
<br>
Where did the &#39;c&#39; go? It evaporated. It condensed. It &#39;one-danc=
ed&#39;.<br>
<br>
<br>
<br>
David Hughes<br>
<br>
<br>
<br>
PS If you want to see any of the stuff I&#39;ve been doing over the last 5 =
years<br>
please go to:<br>
<br>
<a href=3D"Http://www.dhbricolage.net" target=3D"_blank">Http://www.dhbrico=
lage.net</a><br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
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<br>
Message: 2<br>
Date: Tue, 11 Oct 2011 18:19:45 +0100<br>
From: Johannes Birringer &lt;<a href=3D"mailto:Johannes.Birringer at brunel.ac=
.uk">Johannes.Birringer at brunel.ac.uk</a>&gt;<br>
To: soft_skinned_space &lt;<a href=3D"mailto:empyre at lists.cofa.unsw.edu.au"=
>empyre at lists.cofa.unsw.edu.au</a>&gt;<br>
Subject: Re: [-empyre-] condensacion/extrusi?n<br>
Message-ID:<br>
 =A0 =A0 =A0 =A0&lt;DF657B70CB20304DB745D84933F94B1E01AD4F6E3A at v-exmb01.aca=
demic.windsor&gt;<br>
Content-Type: text/plain; charset=3D&quot;iso-8859-1&quot;<br>
<br>
<br>
<br>
dear all<br>
oh, David, no need to worry, anyone can join in at any point, =A0when you f=
eel urged to write.....<br>
one could have introduced the whole ensemble of actors at beginning of octo=
ber, but we tried to start actually with the physical workshop, then with t=
he choreodancers, and gradually we&#39;re expanding, and we hope to hear al=
so from the empyre resonant community how these thought movements here are =
received, some of you have already entered, welcome to you all.<br>

<br>
/ and I appreciate that Jack and Fabrizio went ahead on Sunday to try and c=
ondensate the thematic cores,<br>
and that Jack, Gordana, Claudia and Niliufer have opened a new round of dis=
cussion with such fascinating statements about their work and their researc=
h.<br>
<br>
Johannes<br>
<br>
<br>
<br>
<br>
<br>
<br>
------------------------------<br>
<br>
_______________________________________________<br>
empyre mailing list<br>
<a href=3D"mailto:empyre at lists.cofa.unsw.edu.au">empyre at lists.cofa.unsw.edu=
.au</a><br>
<a href=3D"http://www.subtle.net/empyre" target=3D"_blank">http://www.subtl=
e.net/empyre</a><br>
<br>
End of empyre Digest, Vol 83, Issue 11<br>
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