Biography

Vit à : proximité de la forêt de Fontainebleau

A large piece of cloth lays on the grass, resembling a sail.
A small gardening cart interrupts its course nearby.
It is loaded with books, objects and various printed matter which will soon be displayed in the shape of a constellation on the patient sail.
Each one is invited to sit on and around this piece of cloth.
Each one is invited to grab the objects as soon as they reach the piece of cloth, in order to handle them, to read them, to play (with) them.
Every thing is a note on a score, the writing-notation of a score materialized for this very specific moment.
Some scores are meant to control the performance, others to energize it: the cart and the sail belong to the latter group.
From this viewpoint, one wouldn’t be able to make out exactly all the objects, but some of them are recognizable:
— Dick Higgins’ *Some Poetry Intermedia*poster;
— Pauline Oliveros’ *Software for People* book of writings;
— an entomological study on bookworms;
— a small card describing an attentional protocol proposed by The Order of the Third Bird.
— the two volumes of Anna Halprin’s writings;
— a handbook on how to learn to make sona drawings;
— an anthology of concrete poetry titled *Women in Concrete Poetry: 1959–79*;
— a copy of the french literary journal titled *Les lettres nouvelles*, modified by an unknown reader;
— un dice containting all of the letters of the alphabet, one letter per side;
— a Hermes Baby typewriter;
— a folding bone…
We can now hear Lily Greenham’s voice, increasingly clearer: *touch reach reach touch knowledge experience experience now*

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