I met up with Jack Robson, our production manager today, and confirmed that, HURRAH!, because we love the project so much, we’re going to make it happen – Jack remains our production manager working us round his Phd and us making the distance work (He is based in Devon and is currently touring a show.) If you’ve got the right person and the right project, magic will happen.

So this evening, on a day trip of his to London, we talked about many things. The notes below are notes, jotted down, so that I can return to them. If you have questions or if these inspire thoughts, please add your comment or email me: vera@saltpeterproductions.co.uk

1. The concept of non-linear pesentation of narrative ref. ‘picaresque’.This came from the question from RFO, what drives it?

Per wikipedia:

“Seven qualities distinguish the picaresque novel or narrative form. All or some of these may be employed for effect by the author.

(1) A picaresque narrative is usually written in first person as an autobiographical account.

(2) The main character is often of low character or social class. He or she gets by with wit and rarely deigns to hold a job.

(3) There is no plot. The story is told in a series of loosely connected adventures or episodes.

(4) There is little if any character development in the main character. Once a picaro, always a picaro. His or her circumstances may change but rarely result in a change of heart.

(5) The picaro’s story is told with a plainness of language or realism.

(6) Satire is a prominent element.

(7) The behavior of a picaresque hero or heroine stops just short of criminality. Carefree or immoral rascality positions the picaresque hero as a sympathetic outsider, untouched by the false rules of society.[1]

We are interested in the non-linear nature of the episodes.

2. Edward Gordon Craig and Wagner as breaking boundaries

3. We don’t know exactly where we are when we start – things are drawn into the area of play and things are also revealed and opened up. I talked of that technique – I just googled it – marbelizing paint – where paint swirls in oil then eventually it is dried.


Hard, distinct edges vs. curved, blurry softer edges (of episodes, ideas, narratives, images etc etc)

Everything shifting and beautiful and you wonder at every stage, what is this going to be?

WHAT IS THIS GOING TO BE? It draws things in and into focus, and creates space and opens things up.

<<<Metaphor central, guys!>>>

It shifts the way you look at things, poses questions.

Brautigan writes this way.

Unfixed. Once it’s fixed, it ceases to be interesting. The state of flux is a journey.


***As an important example, look at these blood and milk paintings HERE. Opposing elements interacting and creating constantly shifting whole larger than sum. The process being more important/interesting etc

Alkama caught our eye on But Does It Float last week. In the series, the 49-year-old Fontenoy substitutes blood and milk for water and ink, creating eerie storms of bodily fluids captured on film. So, yeah–the squeamish among us may want to skip over to the next blog post.

Alkama is an experiment, related to alchemy,” writes Fontenoy on his website. “The vital fluids, red and white, male and female, female or male, mingle–[the experiment is] whether they will interpenetrate or reject.” The artist captured each swirling experiment just as the two liquids began to interact, resulting in detailed, organic forms that seem more related to landscape photography than anatomy.

4. Durational. If you watched a unit, it would give you a feeling of the whole. Stifter’s Dinge.

5. Mourning Becomes Electra – the focus on the verandah but the pressure of the external, the city in miniature. Small, distant, but present.

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