Hatching an idea concerning a performance, building upon conversations with ___, taking into consideration our intimate relationship held within a potent making space, all aspects of her personality, sensitivity, discomfort with language, psychological transitional space, sense of humor, giddiness, profound trembling of delicate being, with animals, with children, with her family, and with me: always extending beyond her own limits. If I can devise a way of cohercing her to work with me, to collaborate as my performer/actor, in a way which is also generous and gives back somehow, that is able to transpire as a negotiation that is potent and useful and can be documented, a removal of subjectivity to allow me to focus on the capturing, to balance the proposition of the scnearios, to hone in on the notation rather than the performance. I don't want to be on camera because it's not about my own self but about getting outside of it: subjectivity in general, as a model. This exercise also forces me to not be alone and articulate what I'm doing in a language which is laymen, to make the unknown knowable, or at least accessible. It's a two-fold process, the next step, the first being to come into awareness of/for/with myself and the second to translate it, a way of discussing and acting out the reading and concepts accumulating in isolation and through relation, as monologue becoming dialogue of being, either between bodies or in relation to the void. I like this idea a lot. It offers a rich performative potential for the creation of sound and movement, to experiment with lighting and framing and staging of bodies without having to be one of them - but also allowing for that possibility. The document can be reverse-engineered back into drawings and texts. More sincerely, it could serve as a therapeutic exercise in working out the tensions of our live-in relationship, in cultivate support and sensitivity and alterity. Simply: of relating. As a real combinatorics/collision of life and art there is much at risk, yet ultimately profound authenticity to be gained: it's dangerous, puts everything on the line, as it should, as we should, as is required by the implications of the OOFKAUU becoming praxis, and the authenticity of a human relationship taken to its furthest extent. The risk is essential. The combining of these worlds may diffuse the tension of modern alientation we have both been suffering from lately.