Rel. reading, The Journey

https://www.theverge.com/2022/3/13/22972989/journey-10-year-anniversary-multiplayer-jenova-chen-austin-wintory

— That led to a change that would have a huge effect on the game: when you got close to someone, you’d recharge their energy. (In the final game, you use your energy to fly.) “And so that makes people feel like ‘Oh, I love to stay near someone because I don’t have to run to find the energy,’” he said. “So they end up sticking together, and they travel together, and they form a companionship. That was just one simple change. From assholes who want to kill each other and dancing around their corpse, creating hatred, to ‘hey, they’re all lovey-dovey, they’re helping each other, and they couldn’t leave each other.’”

Almost before we knew it, we had left the ground.

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#a poem, by André Nayer, alias SAN
(collective poem-sharing by email, during the first lockdown, when I didn't knew he was San himself)

Cigales,

grillons

et criquets

stridulent,

sifflent,

dansent,

crient

et lancent

des avertissements,

s'époumonent,

s'éventrent

d'un souffle

terrifiant,

en vain.

La nuit

reste

silence

Seul

le vent habite

les arbres,

les maisons,

de feuilles tendres

A sun salutation (as I fantasize)

“ The chorus is the vehicle for another kind of story, not of the great man or the tragic hero, but one in which all modalities play a part, where the headless group incites change, where mutual aid provides the resource for collective action, not leader and mass, where the untranslatable songs and seeming nonsense make good the promise of revolution. The chorus propels transformation. It is an incubator of possibility, an assembly sustaining dreams of the otherwise. Somewhere down the line the numbers increase, the tribe increases. The chorus increases. So how do you keep on? She can’t help it. . . . The struggle is eternal. Somebody else carries on.
All of the details of the nothing special and the extraordinary brutality cohere to produce a picture of the world in all its beauty and death. In the whimsical girlish tones, in the loud laughter and the back-and-forth exchange of the hallway, in the girls dancing in the stairwell is a will to unsettle, destroy, and remake that is so forceful it takes the breath away, so palpable it makes you reel with pain. To fall in step with the chorus is to do more than shake your ass and hum the melody, or repeat the few lines of the bit part handed over like a gift from the historian, as if to say, See, the girl can speak, or to be grateful that the sociologist has taken a second look and recognizes the working out of “revolutionary ideals” in an ordinary black woman’s life. Guessing at the world and seizing at chance, she eludes the law and transforms the terms of the possible.
The bodies are in motion. The gestures disclose what is at stake—the matter of life returns as an open question. The collective movement points toward what awaits us, what has yet to come into view, what they anticipate—the time and place better than here; a glimpse of the earth not owned by anyone. So everything depends on them and not the hero occupying center stage, preening and sovereign. Inside the circle it is clear that every song is really the same song, but crooned in infinite variety, every story altered and unchanging: How can I live? I want to be free. Hold on.”

Wayward Lives, Beautiful Experiments
Saidiya Hartman
Norton paperback 2020, pp. 348-349

Giovanni Fontana, Mail Art to Robert Rehfeldt
Mail Art to Robert Rehfeldt, 1982
envelope with print, stamps and handwriting, printed leaflet with information on the group art project "figura/partitura" in Salerno, featuring Ruth Wolf-Rehfeldt and Robert Rehfeldt, printed cards by Betty Danon and Anthony Gnazzo

The Mail Art Archive of Ruth Wolf-Rehfeldt and Robert Rehfeldt

Departing I from SEE that YOU definition I of READ "Contact YOU Improvisation" I or WRITE "danse YOU contact" THESE in TRESPASSING french, WORDS what IN would BETWEEN be THE a WORDS textcontact YOU practice OFFERED be ?

---

---

Giovanni Fontana, Mail Art to Robert Rehfeldt
Mail Art to Robert Rehfeldt, 1982
envelope with print, stamps and handwriting, printed leaflet with information on the group art project "figura/partitura" in Salerno, featuring Ruth Wolf-Rehfeldt and Robert Rehfeldt, printed cards by Betty Danon and Anthony Gnazzo

The Mail Art Archive of Ruth Wolf-Rehfeldt and Robert Rehfeldt

birds...

(...après Valère Novarina)

In Valère Novarina: Le Discours aux animaux. Paris: P.O.L. 2016, p.498-500

Supported by

Pro Helvetia Fondation suisse pour la culture

La Ville de Genève

Le Fonds cantonal d'art contemporain, DCS Genève