gone

aware of her narrow future, every move carefully accounted, she swindles an arc and renders a reverb
lingering at the point of divergence of a circle in a square, trapped in delayed escalation, dancing falls into the hollow of a hand
where she swirls the unmentionable and speculates the finely tuned

by and with cc
sound Richard Chartier Subsequent Materials – 17 recurrence (transparency.studio) (2012)

gone abandons herself to the faintest timbre of dancing, in a stillness with no expectations. In lack of a predetermined prospect, relieved from the promise of development, dancing remains in place and moves with no restraint. Quiet in the spot, moving at raging speed, she shifts tonality, measures an upbeat, lingers a driveway, sings a modulation in low-intensive pulse. Dancing ceases to perform herself as primary matter, to instead act as connective tissue between substance and perception. A third condition emerges. We see. And in step with the frugal dancing, we sense* all the thread-thin shifts that make this solo so incredibly sparse and at the same time so saturated. We step over a sensory threshold**.

In contrast to the current hysterical oh-so-static pursuit of increased growth with rapidly consumed utility value, this solo proclaims a radical tress-pass. For the dance, through the dancing. In the singular common.

Danced in ordinary rooms, stripped of all staging, for a small crowd of visitors.

*A sensation is the reaction of a sense organ to a stimulus. Sensation is the conversion of the nerve impulses formed at the end of signal transduction (a cascade of chemical reactions in a sense cell that begins with the activation of a receptor) into neural signals that can be interpreted by the brain. This interpretation is called perception, and in psychology sensation is therefore not the same thing as perception, even if the concepts are often used synonymously in common language. It is very difficult (if even possible) to experience a pure sensation, the brain is quick to interpret the direction and then the sensation becomes perception.

**The sensation diminishes with repeated or long-term exposure to the same stimulus (so-called habituation or adaptation). When attention to the sensation is low or absent, that is, when impressions are registered in the unconscious, the impression is called subliminal perception. The level at which stimuli are too weak to be perceived is called sensory thresholds.

gone

when falling, you stretch out your hand and catch the falling onto the bottom of the fall
in the groundless abyss the helpless is falling into there is no flatness to counter the falling by
yet the startled perplexed finds immediate mitigation to the crash in the hand itself
in the pit the hand bends itself into as to comprehend that which otherwise would rush out of sight
the perplexed that is falling into the pit of her hand is a quiet image, not the least inappropriate, rather a resourceful one
one that is ready, ready to catch the sight of the groundlessness as it falls into the pitfall of her hand
this onehanded dance claims to be falling into the smallest nook of language where the speechless turns into many
bold and invincible, caught by and cared for in the narrow pit of your hand

cc 2020

gone premiered at MARC in Knislinge in 2025, and was then staged at ccap as part of Kulturnatten, and at Maison de la Danse/Maison Ouverte #6 in Malmö.