01

This performance revolves around a fall, where everything leads up to a landing, the feels like it goes on and on, but really just lasts a second. 

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02

There are one or more horizontal tables of waxed or varnished wood in this performance, made up of planks of planed down and smoothed wood, no more than two centimetres thick.

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03

This performance follows the realignment of the body of this performer from its upright vertical position, to the horizontal surface of one or more of these wooden tables.

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04

It is about a second, as long as it takes for the body to fall through the surface of the wooden table(s), and onto the ground (about a moment as long as an exhale).

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05

With each breath out, this performer is falling.

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06

This performer takes a fall - note that in its possessive sense a fall can only be taken, not given, for it has an acceptance towards the non-agentive movement process of this performers body (that is falling).

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07

The breath supports the body of this performer, who (in this moment) is falling.

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08

As focus is placed on the breath 

that supports this falling performer,

at the same time its notion comes

to mind.

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09

With the same notion, they encounter the brutal shock of a non-representational remembering of the self as placed.

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10

Feeling the sudden shock of the open, they remember the self as placed in their fall.

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11

As this performer is seen to fall, they become out of control (out of time) (out of everyday operation), momentarily beyond help and social relations, occupying an isolated gap, in place of

psychic dislocation.

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12

The breath of the body supports the fall of this (dislocated) performer in submission.

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13

As this performer remembers their placement, they place their breath.

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14

This performers mind turns to their breath, one.

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15

This performers mind watches their breath, two.

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16

This performers mind turns and watches their breath, three.

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17

This performers mind faces their breath, four.

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18

This performers mind sees every aspect of the beauty of their

breath, five.

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19

This performers mind watches their breath soothing itself, six.

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20

This performers mind sees every part of their breath, seven.

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21

Their breath is not indifferent to itself, eight.

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22

As this performing body falls through the table surface, there is

a meeting of blood and oxygen.

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23

Blood and oxygen meet mid-air to signal that this performer has become a SCAB.

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24

***

In this performance there are horizontal tables of waxed or varnished wood made up of several planks of planed down and smoothed wood, no more than two centimetres thick.

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25

The table comes to place itself under the performer's elbow, The Table a memory placed at their elbow, As they remember the table (the notion of a table), Some table comes under their elbow.

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26

Some table remembering at their left elbow, They write in the air with their right hand. As they are wanting to write the table, It comes to their elbow and with the same time its notion comes to mind.

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27

The table comes to their elbow,

the same time its notion comes to mind.

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28

They let the existence of the table live on in the paradise of the unsaid until they have no more need for it.

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29

Using as a referent, erase it, and at the same time erase everything they have written on it. Even erasing it itself, to be absolutely done with it.

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30

The table is written in invisible ink.

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31

The table serves as a support for the body of the writer that they sometimes to to be so that they don't collapse (which is what they are doing at this moment) (not for fun) (nor for pleasure) (but as a consolation) (so as to not collapse).

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32

Wooden mother carrying on four legs the upper body

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33

The body of this writer / performer that they sometimes become /

want to be so as not to collapse.

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34

Immobile mother

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35

Supporting Platform

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36

The table supports with four legs the upper body of this performer / this writer / this actor.

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37

***

In this performance there are some commercial knitting machines that 

process acrylic fibre.

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38

The knitted acrylic fibre serve to make socks that are fitted on the square or circular foot on the legs of the table.

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39

At the foot of the legs of the table are table socks to protect the floor that supports it from scratches.

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40

The floor that supports the table is protected from scratches by socks on the foot of the table leg.

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41

The table socks are manufactured in two varieties: brown (as for prevention), and blue (as for relief).

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42

When the table no longer supports the body of the writer / performer / actor (they try to be) (so as not to collapse), the table socks are triggered, and opened to this performer.

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43

The performer takes off the blue sock from the table leg (when triggered) (by shortness of breath), and places it over their fingers on their left hand (to cover the hand) (as a glove). 

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44

They press their middle finger down the soft tissue beneath their tongue, forming a nerve hold (so

as to stop the opponent from speaking) (necessary for submission).

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45

They way this performer uses this manoeuvre is particular: they gag themselves with the sock claw of the left hand, whilst cradling the back of the head with the right hand. 

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46

(Hurt puts on the claw)
(Heal cradles the head)

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47

Using it as a self-censorship that comes from the body that this performer / writer / actor cannot process and is beyond their comprehension. 

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48

The performer is muffled, Cut off from language (trapped in speechless terror) (as to deny the representational power of words) (being left to eat them).

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49

The sock on he left hand is xenolith to the throat, while they begin to write in the air with their right hand.

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50

There is a tension between the oral impulse of love and aggression (they extend the reminder to not forget that oral morality is both primitive and ambiguous).

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51

This performer preserves the uncertainty of whether they consume because they love to

bits, or because they hate so

much they want to tear it to

shreds.

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52

They are without Sonic Hook

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53

Battering Air

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