By Matthew Goulish
'A sequence of injuries has introduced you this book.
You might imagine of it now not as a e-book, yet as a library, an elevator, an beginner functionality in a close-by theatre.
Open it to the desk of contents.
flip to the web page that sounds the main attention-grabbing to you.
Read a sentence or two.
Repeat the process.
learn this e-book as an inventive act, and suppose encouraged.'
39 Microlectures: In Proximity of Performance is a suite of miniature tales, parables, musings and thinkpieces at the nature of analyzing, writing, paintings, collaboration, functionality, lifestyles, loss of life, the universe and every little thing. it's a certain and relocating record for our occasions, filled with interest and sweetness, thoughtfulness and pain.
Matthew Goulish, founder member of functionality team Goat Island, meditates on those and different varied topics, proving, alongside the best way, that the bounds among poetry and feedback, and among creativity and idea, are much much less mounted than they could look. The publication is revelatory, solemn but from time to time hilarious, and really written to encourage - or even impress - creativity and concept
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Additional resources for 39 microlectures : in proximity of performance
1 THE EXAMPLE OF GLASS Each time we experience a work of performance, we start over almost from nothing. Despite recognizable trends, we face inﬁnite differences – individual or cultural details, opposing traditions, idiosyncratic forms and settings, all kinds of aesthetic extremes. Where do we begin, how do we begin, to engage a critical mind? This question does not limit itself to performance. It relates to all art forms. In fact, it applies to all human endeavors and perceptions, from the humanities to the sciences to the practice of everyday life.
Lin was already on tiptoe, peering into the hole. The three-foot thick stone walls of the fortress featured a few of these oddly placed windows, each one with a nine-inch diameter circular hole at the interior edge, tapering open to an horizontal oval, three feet wide and eighteen inches high, at the exterior edge. This shape allowed a wide ﬁeld of vision for somebody looking out, but a narrow ﬁeld for somebody looking in, like us. We took turns at the hole, grasping the bottom of the sill and pulling ourselves up for a view.
I picked him up so he could see through the hole. Then the friend said something in French, so I put Basil down and picked up the friend. I held the child up to the hole. I didn’t know him or speak his language. We stood like that and together watched the side of the dance duet, or watched the empty stage when we couldn’t see the dancers. A kind of accident, a coincidence, brought us together in that way, in proximity of a performance, with the sun going down. It lasted only a moment. The stage became dark.