A visit to Rotterdam extends the experience of two girls working together via their powerbooks into other spaces. Radiotopia will be in the Scapino theatre, a visually neutral black space filled with sounds. A walk down a corridor leads to the V2 bookstore where our performance will take place. The bookstore is a funky space filled with shelves, counters and bright yellow stairs. I immediately love it. We'll add to cluttered space by filling it with projected images. The performers will sit on the stairs and counter tops.

A Sunday spent in bed reading a book and trying to recover from illness reveals a Surrealist game with text.














PARALLEL STORIES
For two, preferably three or four, players.

The players each write a text and must integrate into it 'marker-words' which are announced in turn by the players. In this case there is no rule concerning hidden words and the frequency of the 'marker-words' is not necessarily specified.
Alternatively the 'marker-words' may be announced by someone outside of the game, or may be recorded on a tape-recorder beforehand.

In this example. 'marker-words' are in bold in the text of the player who introduced them into the game.

...no, not at all it was a drawer full of SHOETREES which resembled the Somme Estuary at low tide when the vases uncovered the dead plumbers in the green canoes like SUBSTITUTES for mint spirits in a glass. And space grew greater further out in the shark's direction as he circulated, alert as an ARTICHOKE flowering in the wind of June peopled with fencers in the guise of birds and haywains that waddled along playing at SHEARS on the crania of the children of the baker who rightly dashed upon his HAMMER.
After reading this, I realize that Isabelle and I have been moving intuitively towards this type of automatic story telling. A infinite amount of parallel stories can be told using text, image, 2d graphics, or live video, each one unique based on the personal interpretation by the performers.

The Radiotopia project talks about how with every sound, every piece of audio there is a word, an idea or meaning.

We have been thinking all along of other qualities within the audio that could articulate more the flow of ideas and their visual transformation. We now think that text can be that interface. Audio content, spoken words, physical or emotional responses by the listener, mental visions and other concepts, can be interpreted by an individual and retransmitted as text into a performance using sms.

I suggest to Isabelle that we try to incorporate 'Parallel Stories' into the performance. It is potentially good in theory however, we do not consider ourselves writers, so it could also fail. When we meet that day we go on with the experiment. It starts badly, both of us feeling self concious. After two hours a breakthrough starts to happen as our writing starts to flow better. I'm excited as streams of information of all matters, all things, all ideas, some profound, some illogical, some intimate, some banal go whizzing by us. We play with the 'marker words' that bounce from my text to hers and vice versa, playing with the string of associations that spiral off. We're both satisfied.

We're still working quite simply in terms of form. We decide to refocus on aesthetics. Isabelle has now caught my flu and is bedridden for a couple of days. I'm still sick and also frustruated because the sms module is not quite ready for use. I'm anxious to start to incorporate it into the next session.
FEB 11, 2003