Madness exposes us to a nature of creation which can be exhilarating exhausting scary and depressing. Teetering on the edge of real, passing through fiction to truth and back again, all bodies are apart of something larger something dangerous – a infinitly demanding ethics.

Troupe Mabuse and Simon Vincenzi’s work has played a large part in my living and it will be sad to to leave LUXURIANT after tonight’s last performance.

The waiting room has closed although its ideas about action still linger, and I feel a guided tour of a dystopia cabaret coming on.

With love Peter

If you would like to receive SelectedInformationWrittenMessages via email, please email

An extract from “The paradoxical waiting room puzzle book” by Peter.

Peter Mills

Take something and either; 11th dimension it, 42 it,
Abbreviate it, Abstract it, Abuse it, Acknowledge it, Act
upon it, Activate it, Add it, ADHD it, Adopt it, Adventure it,
Advertise it, Advocate it, Aerobics it, Affirm it, AI it, Air
guitar it, Alienate it, Alphabetise it, Alternative it,
Americanise it, Anarcho-it, Answer a it with question,
Anthropologise it, Anti-it, Archive it, Argue it, Ascend it,
Atlas it, Atomise it, Attach it, Attack it, Audition it,
Authorize it, Autopsy it, Axe it, B movie it, Ballet barre it,
Ballet it, Ban it, Bar it, Baroque it, BBC documentary it, Be
it, Beat box it, Beat it, Believe it, Belittle it, Bias it, big bang
it, Big it up, Bin it, Binaryise it, Blame it, Blank it, Bleed it,
Blend it, Bloom it, Blow it up, Blow it, Blue it, Board Game
it, Body acknowledge it, Body art it, Boil it, Bollywood it,
Bomb it, Book it, Bore it, Bottle it up, Brand it, Break it,
Breath it, Brief it, Bring it back it, Bring it, Bullshit it, Bum
it, Bureaucratise it, Burn it, Bury it, Butter it, Buy it,
Cabaret it, Calculate it, Call it, Calm it, Campaign it,
Cannibalise it, Capitalize it, Car bomb it, Carry it, Cartoon
it, Carve it, Catalogue it, Catalyse it, Censor it, Chain mail
it, Chair dance it, Chalk for peace it, Chalk it, Chance it,
Chance procedure it, Change it, Chant it, Characterise it,
Charge it, Check it, Child it, Classic it, Classify it, Clay
model it, Clean it, Cleanse it, Click it, Clone it, Close eyes
with it, Close it, Clothe it, Code it, Collect for it,
Collectively imagine it, Colonise it, Colour it, Comfort it,
Comment on it, Commit to it, Communise it, Complicate it,
Compose it, Conceptualise it, Concert it, Conform to it,
Conspiracise it, Construct it, Contact it, Contain it,
Contextualise it, Contract it, Contradict it, Control it,
Convert it, Convulse it, Cook it, Cool it,Count it, Crack it,
Cradle it, Crayon it, Cream it, Crease it, Create a waiting
room for it, Credit it, Cross it, Crown it, Crumble it, Crump
it, Cubis it, Cue for it, Cult it, Curve it, Cut it, Cyborg it,
Dada it, Dance it, Debate it, Decay it, De-construct it,
Define it, De-fragment it, Depend on it, Describe it, Design
it, Diary it, Die for it, Dig it, Digest it, Digitalized it, Dilute
it, Direct it, Directive it, Discomfort it, Discover it,
Disinterest it, Dissect it, Distract yourself from it, Disturb it,
Divorce it, Do a diagram of it, Do it but don’t look at it, Do
it but don’t, Do it collectively, Do it from the diagonal, Do it
tomorrow, Dogmatise it, Don’t define it, Dot to dot, Drag it
out, Drag and drop it, Drag king it, Drag queen it, Drink it,
Drop it/ give up/ resign/ quit/ run away/ escape/ vomit,
Dumb and dumber it, Dystopian it, E = MC2 it, Eat it,
Economise it, Educate it, Electrify it, Elementarise it, Email
it, Embody it, Empathise with it, Enact it, Engineer it,
Enlarge it, Enrol it, Enslave it, Erase it, Erect it, Evolve it,
Examine it, Execute it, Exercise it, Exhibit it, Exile it,
Exorcise it, Expedition it, Experiment it, Expire it, Explode
it, Explore it, Export it, Expose it, Express it, Exterminate it,
Eye it, Fable it, Factualise it, Fade it, Fake it, Fall for it,
Fame it, Family album it, Family constellation it, Fantasise
it, Fascinate it, Fax it, Feed it, Feel it, Fictionalise it, Fill it,
Film it, Filter it, Find a quote for it, Find it, Find stuff for it,
Finish it, Fish for it, Fix it, Flanging it, Flat-pack it, Flip it,
Float it, Floor it, Flyer it, Fold it, Folk dance it, Food bomb
it, For tell it, Forensic it, Forget it, Form questions from it,
Format it, Formulate and reformulate it, Fortune tell it,
Fragrance it, Frame it, Freeze it, Freud it, Functionalise it,
Future it, Gaga it, Galvanise it, Game it, Garage band it,
Generalise it, Generate it, Ghost it, Ghostbust it, Gimp it,
GMO it, Go for it, Google it, Google translate it, Gorilla
warfare it, Graffiti it, Graham number it, Green wash it,
Grind it, Grow it, Guess who it, Guide it, Guided tour it,
Hack it, Hang it, Haunt it, Have faith in it, Have tea with it,
Hear it, Hex it, Hibernate it, Hide it, Hip it hop it, Hippie it,
History it, Hit it, Hmm it, Home wreck it, Horoscope it,
Host it, Hover it, Hum it, Hyperlink it, i it, Ice it, Ignore it,
Ikea it, Illustrate it, Imagine it, Imprison it, improvise it,
Induce in it, Industrialise it, Infect it, Infinitise it, Ing it,
Install it, Instructionalise it, Instrumentalise it, Interview it,
Invade it, Invite it, Isolate it, Jazz it, Jekyll and Hyde it, Joke
it, Jump it, Jump on it, Just do it, Kaleidoscope it, Keep eye
contact with it, Keep it, Kid it, Knit it, Knot it, Kraftwerk it,
Laban notate it, Label it, Landscape it, Laugh at it, Launch
it, Laser gun it, Layer it, Leap it, Learn it, Leave it out,
Lecture it, Leech it, Legalise it, Legitimise it, Legitimize it,
Lend it, Lengthen it, Lessen it, Let it all out, Let it be brief,
Liberalise it, Liberate it, Lick it, Lift it, Light it, Limerick it,
Link it, Lip sync it, Liquefy it, List it, Listen around it,
Listen to it, Live it, Load it, Lobby it, Locate it, Lock it,
Logarithm it, Look through it, Loss it, Lost property it, Love
it, Magic it, Magnify it, Mail it, Make a mobile of it, Make it
childish, Make it political, Make it, Manifesto it, Mantra it,
Map it, Mark it, Marry it, Martyr it, Mathematicalise it,
Measure it, Mechanise it, Mediate it, Meditate with it, Meet
it, Mercuryise it, Milk it, Millennium falcon it, Mime it,
Mind map it, Mind read it, Mini model it, Mirror it, Miss
spell it, Mistake it, Mix it, Mobilise it, Mock it, Model it,
Modernise it, Monster it, Moonwalk it, Moralise it, Mother
it, Motivate it, Mount it, Mourn it, Move it, Movie film it,
MTV it, Multiple google translate it, Multiply it, Mundane
it, Murder it, Musical it, Mutate it, Mute it, Mystify it, Name
it, Nano it, Nationalize it, Naturalise it, Neon it, Newspaper
it, Nigel Charnock, Noise make it, Novel it, Object it, OBS!
it, Observe it, Occult it, Occupy it, Open it, Opera it,
Opposite it, Opt out of it, Orbit it, Order it, Organic it,
Orientate it, Overload it, Paint it, Parody it, Pass it on, Pass
it, Paste it, Pattern it, Pause it, Pay it, Perform it live,
Perform it, Personal ad it, Peter it out, Peter Pan it,
Philosophise it, Photocopy it, Photograph it, Photoshop it,
Psychoanalyse it, Pickle it, Pina it, Pink wash it, Pippi
Långstrump it, Pirate it, Place it, Plan it, Plank it, Plant it,
Play it, Playground it, Play music for it, Plug it, Poem it,
Point it, Police it, Poo it, Pop it, Popularize it, Porridge it,
Position it, Post it, Post-modernise it, Postcard it, Poster it,
Pray for it, Predict it, Prequel it, Press it, Primitivise it, Print
it, Privatise it, Problematise it, Promote it, Propertise it,
Protect it, Protest it, Protest song it, Pull it, Punish it, Punk
it, Purify it, Push it, Push pull it, Put it in p andora’s box,
Quantum it, Quest it, Quote it, Race it, Radiate it, Radio
program it, Rainbow wash it, Rain dance it, Randomly
choose from it, Rate it, Rave it, Re-enact it, Reach a
consensus with it, React off it, Read around it, Read it aloud,
Read to it aloud, Ready made it, Reaffirm it, Realise it,
Realism it, Reality TV it, Reassure it, Rebel from it,
Reconstruct it, Record it, Recycle it, Redeconstruct it,
Reference it, Refine it, Reform it, Rehearse it, Reject it,
Relax it, Release it, Relive it, Remember it, Remove it,
Rename it, Repeat it, Repeat it, Replicate it, Reposition it,
Represent it, Rerecord it, Re-score it, Research around it,
Reserve it, Resign it, Resist it, Respell it, Responsibilitise it,
Retard it, Retro it, Reuse it, Reverse it, Revolt with it,
Rewrite it, Rip it, Road trip it, Rob it, Robin Hood it, Role
play it, Roll it, Romance it, Round it, Royalist it, Rub it,
Rubik’s cube it, Rule it, Run away with it, Rhythm it, Sail it,
Salt it, Salute it, Save it, Say it, Scale it, Scam it, Scan it,
School it, Score it, Scrap book it, Scratch it, Scream it,
Screw it, Screw with it, Script it, Scroll it, Sculpture it, Self
if, Self unfinished it, Sell it, Send it, Sense it, Sequel it,
Sequence it, Severe it, Sew it, Shake it, Shape it, Share it,
Shave it, Shelter it, Shirtology it, Shop it, Shoplift it, Shout
it, Shorten it, Shower it, Shrink it, Si-Fi it, Sign it, Silence it,
Simon says it, Simplify it, Sing it, Sift it, Size it up, Sketch
it, Skin it, Skip it, Slaughter it, Sleep on it, Silence it, Smash
it, Snake it, Snap it, Snuggle it, Socialise it, Solidarity it,
Solidify it, Solve it, Sonic it, Source it, Soul it, Soup it,
Spam it, Spaz it, Special it, Speech it, Spell it, Spice it,
Spoof it, Sporn it, Spot it, Spot the difference in it, Spread it,
Square it, Stare at it, Start it up, Start it, Static it, Steal it,
Steam it, Step it, Sticker it, Sting it, Stop it, Stop motion it,
Story it, Strand it, String it, Structure it, Stupid it, Subjectify
it, Submerse in it, Subtract it, Super it, Surf it, Swamp it,
Swan lake it, Swedish dance history it, Sweet it, Switch it,
Symbolize it, Synthesize it, T.A.R.D.I.S. it, Tag it, Take it
for a walk, Take it on holiday, Take it somewhere, Talk on it,
Talk to it, Tap it, Tape it, Teach it, Technique it, Teleport it,
Tempt it, Texturalise it, Theatricalize it, Therapy it, Theorise
it, Thesis it, Think it through, Think it, Throw it away,
Tickle it, Tilt it, Time it, Time-lapse it, Timetravel it, Title it,
Too-ticki it, Torture it, Total it, Touch it, Tour it, Trace it,
Trail it, Transmit it, Train spot it, Transform it, Translate it,
Trap it, Trash it, Travel it, Tread it, Trial it, Trio it, Try it,
Tune it, Turn it, Tweet it, Ultra it, Ultrasonic it, Unearth it,
Unlock it, Unpattern it, Update it, Upgrade it, Upstage it,
Urbanise it, Us it, Use it, USSR it, Utopian it, Vary it,
Veganise it, View it, Verb it, Verbalise it, Vibrate it, Video
game it, View it, Vintage it, Violate it, Visualise it, Vomit it,
Wait for it, Wake it, Walk around it, Walk with it, Wander
with it, Watch films about it, Watch it, Water it down, Water
it, wave it, Weather rapport it, Weave it, Weep for it,
Whisper it, Who it, Why it, Wiki it, Wonder about it, work
it, World record it, Write it on the toilet door, Wrong it, x it,
You are it, Youtube it, zip – unzip it, Zlatan it or Zoom it.

Step forward and hold hands.

Facilitation for life

Identities, territories cause exploitation and exclusion. Without the means to work to deconstruct them to talk and work on them, there is no hope in having the ability to live to explore and adventure into a place where we can work together at working on working together, living.

If acceptance, tolerance and unspoken agreements are not allowed to be held up to the light to see for faults that have manifested and been constructed we can not hope to work on fixing them.

The agreement that life is fluid dynamic and not predictable or conditionable is an accepted idea but it is not in practice. We are living by acceptance, tolerance, identities, territories, structures, frames. Frames which frame, our vision, our ability to achieve, our ability to question, our ability to work on, our ability to live.

But my proposal is not for a change of lifestyle its not for uprooting habits and personal comforts, it is for an acknowledgment that we need to want to work on working on working together to facilitate living. We often jump to the living and skip the elementary levels which causes and facitorates things unwanted to happen. It is often goal oriented or product based economically motivated. Ideas that work and must be protected, the accepted, the tolerated. So i propose that we work on, rather than accept as life is fluid and not measurable.

What does it really mean to work on, i believe to facilitate us to be “working on…” is to agree that we will work on doing this. Using tools which will inturn be worked on to better facilitate us being able to work on living, living together. For example the fact we are in agreement to work against predigest means that we are also in agreement to talk about racism when it is felt, it also means we work on facilitating of talking, perhaps using methods, gestures, mediators. Rather than justifying systems, methods, frames which are taken for granted and are not in agreement as something which is being worked on.

What I think this allows for is the freedom to make mistakes and to realise them as mistakes. To work on our own moral plumbline to be able to understand our actions our feeling our position to work on our own morals.

This is my proposal to agree to work on facilitating ourselves to work on living with each other by working on facilitation tools.

No choice, don’t watch this. A description by Peter Mills.

No choice, don’t watch this, is an ontological discourse into meaning and value. The aim of the piece is to look at choice and how it shapes our reality. Either we rebel, or we conform or we act somewhere in between, but what we do not have is choice. We are enslaved by the proposition of No choice, don’t watch this, a warning of the conversation to come.

In the large dark empty room there is no distinguishable difference between audience and performer. A DVD starts by introducing itself, This is Google translate, speaking to you from the past… Free from a divine author, the past informs the present, unavoidable and without choice. The word Stand repeats, the audience participation is not with the piece but with the decision making of how to act in a theatre. To stand or rebel, they all must engage and be aware of their responsibility. A pause, then Do nothing pulsates through out the space. Reminding, not just about the placid spectator in the theatre but also the bystander of exploitation within the world. Responsibility is force upon us in the room, engaging us with choice. This impossible task because of breathing, thinking, heart beating, staying still and trying not to think brings the philosophy about the creation of meaning within our meaningless existence into the performance. As the performers struggle with anxiety from attempting to meet the ideological end to Do nothing, the audience hopefully, through observing or their own internal struggle to conform, also feel the exploitative nature of creating meaning where there is none. The room goes black, before Copy the recording of the copying process is announced. A recording of a person dressed all in black is played. The performers/audience attempt to copy the recording to their best ability. The performers move on impulse rather than associative shape, their bodies thrown into a trance like obsession reacting to every movement from the screen, mistakes are unavoidable. The person in the recording moves as if they too are copying a recording, as if they are not the creator. The audience are conflicted of where to watch, the wall with the recording playing or the audience/performers copying the recording. Are they the spectator of others or the spectacle themselves or is it the game of conforming, rebelling in their own minds that is the spectacle?! The noise stops, performers returns to be audience members. Do nothing but copy each others mistakes at attempting to do nothinginterrupts. Attention is now on themselves and the people around them. The slightest movement caught by the eye of a performer is copied. The copying of these movements, can in no time become a virus, like an infection of movement. There is an emphasis for the audience on their contribution, confronted with their choice. As the audience control the situation for the frantic and anxious reacting audience/performers, because of their belief in the dictator’s fake meaning and choosing to conform to it, faith in meaning manifest itself as inequality and exploitation. The piece ends with Copy the recording of the copying process, and each other. Filling the room with movement. Half way through an advert is played, before the words LEAVE NOW flash over the recording and the doors are opened and the audience is advised to leave. Meaning and creation influenced by the recording as the past and the copying as the present, create an experience of choosing. Questioning choice in the theatre and in society, and belief in meaning and in value, having observed its affects.

My intention is to create a situation to experience the created constructs of reality and the effect of choice within it. We should justify why injustice happens, by justifying our choices. No choice, don’t watch this is the warning to be aware of ourselves.

A personal aesthetic experience by Peter Mills,

 A personal aesthetic experience by Peter Mills,

 I stand in the centre of the studio. Ready to start creating the next piece of dance. I think to myself of all the possible movements. What each movement could mean, and what the next movement will mean in relation to the first and where will this go and what will it say once it has been there. So I ask which movement do I start with and why? Because I think the movement I choose will state that I think this was the best movement for that moment. But there are an infinity of movements and second movements to choose from, and I think they are all of the same value.

 The blank canvas of the choreographer, with all its possibilities and consequences of what they may or may not convey.

So I was frozen by choice, unable to to make a decision.

 With an infinity of choice I did not know what was the best choice to choose. I did not want to pretend I knew, that I had some divine power to know more than others. I wanted to express that I know no more than anyone else. I do not know what you need to see or know, what movement to use. I believe that it is important to state that I don’t know.

From what I can prove, nothing is for sure a fact. All we know is that we think. We think that we see, hear, smell, taste and touch. Or we think that we did or are doing. So with that everything is fiction or subjection of our own mind. If the tangibility of everything is created by ourselves then it would be fair to say we are the creator. And without any measure to say otherwise then everything must and have to be meaningless. Meaningless and equal until we decide otherwise, through faith and what must be blind faith because of our lack of complete and absolute truth. As complete and absolute truth would prove it to be meaningless. Because for it to have meaning should it not have to exist, be real or part of an objective reality?!

The biggest argument is that there is a degree of objectivity in reality otherwise the world you experience would not be the one I experience. And we do experience the same world but inflict upon it different narratives and interpretations.Which does seem the case but lets for the sake of this argument make the conclusion that all that can be truthfully proven to its limit to its final end. There may be things that in some way can be shared, like physical truths, the physical world and some of the scientific reasoning and rules attached to it. But I argue if we take proof to its limit, the physical world is not as true as it may seem, because we can only prove our own thoughts. At least when truth is taken to its ulitmate limit.

So it is from this point which I make my claim that to give meaning, to create things out of blind faith is to cause inequality. Because to give meaning is to give vaule and vaule causes differing of vaules and therefor ineqaulity. If we take truth to its limit, then meaning is false, not holding any truth in reality because there is no true meaning in reality. With that there is no need for such inequality because at the limit of truth everything is meaningless and therefore equal. So to counter inequality, I believe everything must be said including the disclaimer I do not know. I don’t know that this is more or less equal than that. The absurdity of life or reality which must hold contradiction at its heart to speak true, so whist frozen not knowing how to start I could start by expressing:

 that this is a good movement but I don’t know for sure.

The obvious argument to me is that this is of course inherent, an unspoken understanding. So when the performer on stage makes the first movement it is common knowledge that the performer does not know for sure that it was the perfect, true movement. I argue that this is not the case because some things are valued above others. I would conclude that if one thing is chosen to be valued above another then everything can. It is for this reason we have inequality and all that it entails. Because some things are considered better than others. There is too much blind faith.

To strive for equality and truth, the statement I do knot know has to become the recognised underlying disclaimer for everything. We can do what we like as long as we do not claim to know that it is the right thing to do. To not give meaning and therefore express that everything is equal. I think that to change the ideology of every thought and action, especially such an everyday idea that has such vast and large consequences, is perhaps the hardest thing to do. Our lives and everything we think we know is all geared up to better versus worse. We evaluate things all the time in accordance with other things. But I believe that we can start to think about what are the causes of our faith in reality itself.

 So I am left standing in the room movement-less by the philosophical idealism against inequality. Not wanting to make the awful mistakes of dance tradition where people are exploited and excluded right, left and centre by blind faith in meaning, and more so in meaning itself. What move next?

So I will not do nothing, I will not stand in the studio trying to do nothing. I will justify my movement by adding the disclaimer that “i don’t know” to every action and thought.

Although I have made many movements with the intention to communicate the disclaimer and justify my movement, I am yet to succeed.

I will explain why by going through one of my most recent piece No choice, don’t watch this, and with the title itself I hope to start an ontological discourse into meaning and value. The aim of the piece is to look at choice and how it shapes our reality. No choice is referring to my idea that when a proposition is posed we have no choice but to act because of it. Either we rebel, or we conform or we act somewhere in between, we become a slave to the proposition. Then the proposition don’t watch this is directly questioning peoples choice to rebel or conform. I see the title as a warning of this line of questioning which follows.

The performance.The piece is presented in a large dark empty room with a projector facing a white wall opposite a mirrored wall reflecting the room. There is no one in the room as the audience enters. Once the audience has entered a technician shuts the door and starts the DVD projection onto the wall.

My intent. In this work I choose not to distinguish between audience and performer. Which one day I would like to take it to its ultimate end and have no performers at all and just audience, with the audience turning performers during the piece. This is an attempt to express that the performer knows nothing more than the audience. Sadly this is not true as the performers have rehearsed and know what is going to happen once the DVD starts to play. But the ideal effect would be that no one had any prior knowledge.

 The performance. The DVD starts by introducing itself, This is Google translate, speaking to you from the past… The automated voice from the computer generated program Google translate echoes around the room with the words flashing on the wall.

My intent. The audience have been left without an author to the piece. My intention would be not to have any name associated with the piece. To rid us of a divine author, a choreographer who knows better. I would like it to present as an anonymous entity, perhaps from within ourselves, the audience or a manifestation of ourselves. But until now this has became lost in emails, and the piece is often presented with my name attached. It would be ideal to not have an author at all and for the authors to be the collective spectators, the audience, watching their own creation. It is the desired effect within the piece to have the audience create the piece themselves within their mind. Then Speaking to you from the past is played, as a reference to how the past informs the present, with us constantly having to answer to it. Another unavoidable choice we have to make.

The performancePlease follow the instructions given, Turn off you mobile telephones echoes in the darkness. With the words illuminating the space from the projection.

My intentTurn off you mobile telephones is a reference to the theatre, and the codes of conduct which the audience abide by when being in the theatre. To highlight and bring the audience face to face with the mutual unwritten terms of agreement of the theatre, forcing them to make a choice and see themselves making a choice.

The performanceStand, the room moves in cannon as some people stand up having sat on the floor during the long pause at the beginning, others shuffle already standing and then some remain sitting as long as they can with the word Stand repeated relentlessly leaving most standing and a few sitting.

My intentWith this audience participation they are not participating in the piece but with the decision making of what is the proper way to act within a theatre situation. To stand or rebel, they all must engage. The choosing is forced upon everyone.

The performanceWhispers and laughter can be heard from the audience as they come to terms with their situation, as it becomes the piece itself. A pause, then Do nothing pulsates through out the space.

 My intentDo nothing is a command which I hope would resonate not only with the placid idea of the spectator viewing the happenings on stage but also the person in society being a bystander of exploitation and exclusion within the world and not taking responsibility. Here the audience is given the choice to conform to be placid or rebel and not be placid, highlighting how responsible the audience member is. To show that the audience have responsibility for the their actions, hopefully engaging with the idea of responsibility of choice within society.

Do nothing is also an impossible task. Breathing, thinking, heart beating, staying still and trying not to think makes it impossible. A demand which we cannot attain, reminding us of our lack of choice. Bringing the philosophy about the creation of meaning within our meaningless existence into the heart of this performance. As the performers struggle with anxiety from attempting to meet the ideological end to Do nothing, the audience hopefully through observing the performers or through their internal struggle to conform, also feel the exploitative nature of creating meaning where there is none.

The performanceThere is a long pause where the room goes black, before the next instruction is announced. Copy the recording of the copying process, flashes on the wall and echoes in the room. A recording of a person dressed all in black covering their face with a black mask standing against a white wall is displayed. The recording have had been recorded against the wall it is now projected onto.

My intentThis for me is a reference to creation, to express that creation is not divine, original and comes from nowhere but is an accumulation of experience and knowledge. The performers/audience attempt to copy the video to their best ability. The performers are to move on impulse rather than associative shape, their bodies are thrown into a trance like obsession reacting to every movement from the screen, obviously showing how mistakes are unavoidable even when the attempts are full of intent to do them correctly. The person in the recording moves in a way that indicates they too are copying a recording. I have tried to extract the black masked person from the position where the black masked person creates divine movement. The reason for the black tights, shoes, top, and mask like an anonymous black bloc anarchist superhero, is to also express a void of divine association to sex, age, meaning. Whilst the recording is playing there is a conflict of where to watch, the wall with the recording playing or the audience/performer copying the recording. This choice highlights the idea of conform or not, watch recording or audience. Conform to theatre traditions of looking forward at the projection or rebel and look around at the audience. And to also question the position of themselves as audience. Are they the spectator of others or the spectacle themselves or is it the game of conforming, rebelling in their own heads that is the spectacle.

The performanceAfter the frantic copying which disrupts the rooms order into more of a chaotic scattering, the performers returns to be an audience member and waits for what comes next. Do nothing but copy each others mistakes at attempting to do nothing interrupts the voice, words flashing.

My intent. The rooms attention is now truly on themselves and the people around them. The slightest movement caught by the eye of a performer, a twitch or movement from a member of the audience is copied. The copying of these movements, can in no time become a virus like an infection of movement. There is an emphasis for the audience on their contribution to the performance, and they are confronted with the conform or not to conform problem in doing nothing or not. Some find joy in causing movement by rebelling. Some run away causing movement of a performer to escalate and sometimes has the performer chase the person until they learn they are causing the chasing and then choose to conform. If the performer gets caught in the mirror we have a game of error, where the performer should continue to do exactly the same movement or nothing over and over again, but as they make mistakes doing movement too big, small or wrong, the movement grows and changes.

The Do nothing but copy each others mistakes at attempting to do nothing performance shows through the act of choice how for the audience/performers choice to believe in meaning, with the meaning being the dictation, causes inequality and exploitation. As the audience control the situation by doing nothing or not, the frantic and anxious reaction of the audience/performers’ belief in the dictators fake meaning and choosing to conform to it, faith in meaning manifest itself as exploitation. That is to say, if everyone believed I don’t know then the instructions from the dictator would not be acted upon, knowing that the dictator does not know.

The performanceThe piece ends with the instruction Copy the recording of the copying process, and each other. where the room is once again filled with movement. Half way through this instruction This is not a love song by Public image limited is played as an advert, after which the words LEAVE NOW flash over the recording and the doors are opened and the audience is advised to leave by the technical team.

My intentThis concluding performance instruction which includes the past influences as the recording and the present influences as the copying of everyone else around, is a expression of how creation is created. Not just the creation of art and dance but also choices and the creation that they cause. The playing of This is not a love song is a message saying I do not love capitalism and authoritarianism. It is to say this is not a piece in admiration of value and creation, it is the opposite. LEAVE NOW is to give the feeling that something has gone wrong as people are advised to leave. The performers are left trapped in the world of instruction and constructed meaning, causing them to be thrown around the room some lying on the floor twitching from the slightest movements they can see. The world created in the piece causes meaning which causes the exploitative situation at the end because of the choices made to believe in meaning.

 I hope the audience go away having had to question their choices and the results of them, with my attempt to show how by creating meaning and choosing to believe in it cause valuation, inequality and eventually exploitation and exclusion. The awful part of being within, watching this piece is that you have no choice as others around you choose to believe in the meaning created by the instruction, and that is why the title is a warning. But I hope through this attempt of an example how meaning affects society, we can better understand the need for the disclaimer I don’t know after everything.

My intention in every aspect of this piece can be reasoned to the smallest detail by myself. If I start an ideological discourse with the audience and communicate my thoughts, is somewhat unknown. How much is communicated to the audience if any at all?! I know the work resonate with people but I dno’t know if they see it as I wish them to. I know they cannot understand it exactly as I hope they would but maybe that itself would communicate my message that I don’t know or never will and neither will they, because we don’t know.

Whilst writing this I have noticed inconsistencies in my theory and I am forever changing, contradicting and questioning it. I hope that this gives some insight into some of my ideas but would like to stress that I am not finished yet. To find an answer would give meaning which negates my statement that there can be no meaning.

My personal aesthetic experience, has been to find justice for the sensory or sensori-emotional value of movement, performance, theatre and the constructs of creation, whilst believing in equality. This has forced me to question all my roles in life, which is what I like to bring to the work I create. The debate about the judgement of anything and everything and even the judging itself.