By Matthew Goulish

'A sequence of injuries has introduced you this book.
You might imagine of it no longer as a e-book, yet as a library, an elevator, an novice 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 publication as an artistic act, and think encouraged.'
39 Microlectures: In Proximity of Performance is a set of miniature tales, parables, musings and thinkpieces at the nature of interpreting, writing, paintings, collaboration, functionality, existence, dying, the universe and every little thing. it's a detailed and relocating record for our instances, filled with interest and beauty, thoughtfulness and pain.
Matthew Goulish, founder member of functionality crew Goat Island, meditates on those and different different topics, proving, alongside the best way, that the bounds among poetry and feedback, and among creativity and concept, are much much less fastened than they might look. The booklet is revelatory, solemn but every now and then hilarious, and really written to encourage - or maybe galvanize - creativity and notion.

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What happens then when a moment repeats or nonrepeats? A recognizable pattern of time/place/action quality emerges in a perceivable proximity, with clearly shifting detail. Maybe we can now say something new has appeared: the moment has multiplied – and through its multiplicitness, it has begun to accumulate meaning, or history – an alphabetical history, a musical history. It repeats, and it does not, in conformity with its own qualities of multiplicity. In this way, the many moments become one, and the one moment becomes many.

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. Irreducible complexity seems to characterize the late twentieth century itself.

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. Then the lights came up, and in profile the dancers bowed.

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