About

The Buzzcut Commonplace Book derives from a model of creative response developed for the Abandoned Practices Institute by Mark Jeffery (ATOM-r), Lin Hixson and Matthew Goulish (Every house has a door). Commonplacing was a practice used by writers to compile

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About

The Buzzcut Commonplace Book derives from a model of creative response developed for the Abandoned Practices Institute by Mark Jeffery (ATOM-r), Lin Hixson and Matthew Goulish (Every house has a door). Commonplacing was a practice used by writers to compile

Featured / Leave a comment

Critical Context

I first came across this method of creative response whilst participating in the Abandoned Practices Summer Institute at the School of the Art Institute in Chicago in July 2014 (run by Mark Jeffery (ATOM-r), Lin Hixson and Matthew Goulish (Every

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Critical Context

I first came across this method of creative response whilst participating in the Abandoned Practices Summer Institute at the School of the Art Institute in Chicago in July 2014 (run by Mark Jeffery (ATOM-r), Lin Hixson and Matthew Goulish (Every

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Instructions

“We will engage the critical mind to observe the moments in the work we are looking at that seem to us the most exceptional and inspiring – the miraculous moments. Maybe this approach will allow us to keep the creative

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Instructions

“We will engage the critical mind to observe the moments in the work we are looking at that seem to us the most exceptional and inspiring – the miraculous moments. Maybe this approach will allow us to keep the creative

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Fermented Ink / McCulloch and Black / Sun 22nd March

1. “… the body is put at risk in situations that stage singularly difficult experiences of intimacy. That is, by urging their own bodies into crisis, these and other artists pose subjectivity as radically comprised by its encounters with the

Fermented Ink / McCulloch and Black / Sun 22nd March

1. “… the body is put at risk in situations that stage singularly difficult experiences of intimacy. That is, by urging their own bodies into crisis, these and other artists pose subjectivity as radically comprised by its encounters with the

The Erinsborough Fringe / Susannah Hewlett / Sun 22nd March

1. “He went into a panic “Am I peeling, am I flaking? Wait – I am growing older?” I said, “Arjuna – we’re all peeling, we’re all flaking””. Spalding Gray Swimming to Cambodia 2. Captures the unpredictable weirdness of all

The Erinsborough Fringe / Susannah Hewlett / Sun 22nd March

1. “He went into a panic “Am I peeling, am I flaking? Wait – I am growing older?” I said, “Arjuna – we’re all peeling, we’re all flaking””. Spalding Gray Swimming to Cambodia 2. Captures the unpredictable weirdness of all

Drone / Harry Giles / Sun 22nd March

1. “The function of the artist in a disturbed society is to give awareness of the universe, to ask the right questions, and to elevate the mind”. Marina Abramovic 2. My thoughts behind the quote and how it links to

Drone / Harry Giles / Sun 22nd March

1. “The function of the artist in a disturbed society is to give awareness of the universe, to ask the right questions, and to elevate the mind”. Marina Abramovic 2. My thoughts behind the quote and how it links to

The Erinsborough Fringe / Susannah Hewlett / Sun 22nd March

1. “In theatre discourse ‘immersive’ is now attached to diverse events that assimilate a variety of art forms and seeks to exploit all that is experiential in performance, placing the audience at the heart of the work”. Josephine Machon Immersive

The Erinsborough Fringe / Susannah Hewlett / Sun 22nd March

1. “In theatre discourse ‘immersive’ is now attached to diverse events that assimilate a variety of art forms and seeks to exploit all that is experiential in performance, placing the audience at the heart of the work”. Josephine Machon Immersive

Show Off / Figs in Wigs / Sat 21st March

1. “I never wonder, whether, if a tree falls in the forest, will anyone hear it. Rather, who will tell about it?” Spalding Gray (1987) 2. We are all egotistical, narcissistic, self-important, solipsistic beings, but which one of us is

Show Off / Figs in Wigs / Sat 21st March

1. “I never wonder, whether, if a tree falls in the forest, will anyone hear it. Rather, who will tell about it?” Spalding Gray (1987) 2. We are all egotistical, narcissistic, self-important, solipsistic beings, but which one of us is

Clear Stripes / Richard Layzell / Sat 21st March

1. “The theatre, after all, is a temporal medium – but a temporal medium in the crease or fold of its own condition. Many have claimed temporality itself as theatre’s primary medium, where any material composed in if not contaminated

Clear Stripes / Richard Layzell / Sat 21st March

1. “The theatre, after all, is a temporal medium – but a temporal medium in the crease or fold of its own condition. Many have claimed temporality itself as theatre’s primary medium, where any material composed in if not contaminated

Clear Stripes / Richard Layzell / Sat 21st March

1. “They sat waiting for R’s reply, watching him linger in the aura of his defined state”. Don DeLillo Falling Man. 2. I’ve never seen a performance that so struck the same chords/paths as DeLillo’s writing as this. Watching it

Clear Stripes / Richard Layzell / Sat 21st March

1. “They sat waiting for R’s reply, watching him linger in the aura of his defined state”. Don DeLillo Falling Man. 2. I’ve never seen a performance that so struck the same chords/paths as DeLillo’s writing as this. Watching it

Laura Laura / Immigrants and Animals / Sat 21 March

1. “women are depicted in quite a different way from men – not because the feminine is different from masculine but because the ‘ideal’ spectator is always assumed to be male and the image of the woman is designed to

Laura Laura / Immigrants and Animals / Sat 21 March

1. “women are depicted in quite a different way from men – not because the feminine is different from masculine but because the ‘ideal’ spectator is always assumed to be male and the image of the woman is designed to

Masculine Expressions of my Creative Prowess / Pablo Pakula / Sat 21st March

1. “Twit twit twit Jug jug jug jug jug jug So rudely forc’d” – T.S. Eliot The Waste Land 2. tied to a leash dragging heavy work breaking through the words

Masculine Expressions of my Creative Prowess / Pablo Pakula / Sat 21st March

1. “Twit twit twit Jug jug jug jug jug jug So rudely forc’d” – T.S. Eliot The Waste Land 2. tied to a leash dragging heavy work breaking through the words

1<4 Fire / TJB and FKA / Sat 21st March

1. All streaked with oil and rust. 2. The show brought to mind a pair making an unlikely escape from some industrial fire, or dangerous journey. At times the woman perilously carried the man, at times the man carried the

1<4 Fire / TJB and FKA / Sat 21st March

1. All streaked with oil and rust. 2. The show brought to mind a pair making an unlikely escape from some industrial fire, or dangerous journey. At times the woman perilously carried the man, at times the man carried the

miles and miles / Haranczak/Navarre / Fri 20th March

1. “Time fragments, fractures, back and forth: it bends on itself” 2. So miles and miles was like that – time went in many directions

miles and miles / Haranczak/Navarre / Fri 20th March

1. “Time fragments, fractures, back and forth: it bends on itself” 2. So miles and miles was like that – time went in many directions

Sugar Lips / Lou Brodie and Tashi Gore / Sat 21st March

So we were all lining up on the floor I was first on the show I feelt dead cool because I put a bit of sugar icen on her lips then I feelt really cool so then I put on

Sugar Lips / Lou Brodie and Tashi Gore / Sat 21st March

So we were all lining up on the floor I was first on the show I feelt dead cool because I put a bit of sugar icen on her lips then I feelt really cool so then I put on

The Daily Grind / Laurie Brown / Thur 19th March

1. “The autobiographical and the political are interconnected. Who speaks? What is spoken? What sorts of lives are represented, contested, imagined? The vast majority of autobiographical performances have been concerned with using the public arena of performance in order to

The Daily Grind / Laurie Brown / Thur 19th March

1. “The autobiographical and the political are interconnected. Who speaks? What is spoken? What sorts of lives are represented, contested, imagined? The vast majority of autobiographical performances have been concerned with using the public arena of performance in order to

Race Cards 3.0 / Selina Thompson / Fri 20th March

1. “my grandmother wants to know if you see blue through your blue eyes” Carol Mavor Black and Blue (2012) 2. I am aware of my white male perspective I am aware of my blue eyes These are my racial

Race Cards 3.0 / Selina Thompson / Fri 20th March

1. “my grandmother wants to know if you see blue through your blue eyes” Carol Mavor Black and Blue (2012) 2. I am aware of my white male perspective I am aware of my blue eyes These are my racial

Pop / The Moptops / Thurs 19th March

1. “Each place is the focus of a distinct mixture of wider and more local social relations… [and] from the accumulated history of a place, with that history itself imagined as the product of layer upon layer of different sets

Pop / The Moptops / Thurs 19th March

1. “Each place is the focus of a distinct mixture of wider and more local social relations… [and] from the accumulated history of a place, with that history itself imagined as the product of layer upon layer of different sets

Who Owns This? / Ed Crawley / Thurs 19th March

1. “I am not the soil I walk on not am I interested in soil provising a safeground to my roots. People are my roots, my soil”. 2. I think personal attachments to certain spaces and communities are extremely interesting.

Who Owns This? / Ed Crawley / Thurs 19th March

1. “I am not the soil I walk on not am I interested in soil provising a safeground to my roots. People are my roots, my soil”. 2. I think personal attachments to certain spaces and communities are extremely interesting.

Union / Hellen Burrough and Philip Bedwell / Fri 20th March

1. “In its most pressing formulations, live art redefines our understandings of intimacy and risk. It invites new ways of thinking about how these seemingly opposed logics are tied to each other, in our experiences of art, performance and the

Union / Hellen Burrough and Philip Bedwell / Fri 20th March

1. “In its most pressing formulations, live art redefines our understandings of intimacy and risk. It invites new ways of thinking about how these seemingly opposed logics are tied to each other, in our experiences of art, performance and the

Soiled / Jamie McMurry / Weds 18th March

1. “You may be told that the legal decisions lead the changes, that judges and lawmakers lead the culture in those theaters called courtrooms, but they only ratify change. They are almost never where change begins, only where it ends

Soiled / Jamie McMurry / Weds 18th March

1. “You may be told that the legal decisions lead the changes, that judges and lawmakers lead the culture in those theaters called courtrooms, but they only ratify change. They are almost never where change begins, only where it ends

There They Carved A Space / Emilia Weber and Claire Healy / Weds 18th March

1. A Nostalgia Drift: “Revisit scenes from your past and see how they’re getting along without you. Look into the back gardens of houses you used to inhabit. Commemorate in chalk special places on the pavement where you said “Goodbye”

There They Carved A Space / Emilia Weber and Claire Healy / Weds 18th March

1. A Nostalgia Drift: “Revisit scenes from your past and see how they’re getting along without you. Look into the back gardens of houses you used to inhabit. Commemorate in chalk special places on the pavement where you said “Goodbye”

Doggerland / Kitty Fedorec / Thurs 19th March

1. “Isaura, city of the thousand wells, is said to rise over a deep, subterranean lake. On all sides, wherever the inhabitants dig long vertical holes in the ground, they succeed in drawing up water, as far as the city

Doggerland / Kitty Fedorec / Thurs 19th March

1. “Isaura, city of the thousand wells, is said to rise over a deep, subterranean lake. On all sides, wherever the inhabitants dig long vertical holes in the ground, they succeed in drawing up water, as far as the city

Soiled / Jamie McMurry / Weds 18th March

1. “Affect can circulate, bearing atmosphere-altering tendencies, in material remains or gestic/ritual remains, carried in a sentence or a song, shifting in and through bodies in encounter. Sara Ahmed, preferring the appellation emotion to affect, writes of emotion as sticky.

Soiled / Jamie McMurry / Weds 18th March

1. “Affect can circulate, bearing atmosphere-altering tendencies, in material remains or gestic/ritual remains, carried in a sentence or a song, shifting in and through bodies in encounter. Sara Ahmed, preferring the appellation emotion to affect, writes of emotion as sticky.

The Daily Grind / Laurie Brown / Thurs 18th March

1. “Oops, I’m getting ahead of myself. I have found, over many years of performing, that you should never put the overbearing political rant in the first 45 seconds of the show. It’s much better to wait for at least

The Daily Grind / Laurie Brown / Thurs 18th March

1. “Oops, I’m getting ahead of myself. I have found, over many years of performing, that you should never put the overbearing political rant in the first 45 seconds of the show. It’s much better to wait for at least

4D Cinema / Mamoru Iriguchi / Thurs 19th March

1. “the experience of performance is often something like a trauma, a witnessing of an event that is constituted by the very fact that it exceeds you. The event is too full and seems too quick for you to know

4D Cinema / Mamoru Iriguchi / Thurs 19th March

1. “the experience of performance is often something like a trauma, a witnessing of an event that is constituted by the very fact that it exceeds you. The event is too full and seems too quick for you to know

4D Cinema / Mamoru Iriguchi / Thurs 19th March

1. “(…) the impossibility of understanding the new without reference to the old. Only in so far as it stands out against the old can the new be what it claims to be, only in so far as it is

4D Cinema / Mamoru Iriguchi / Thurs 19th March

1. “(…) the impossibility of understanding the new without reference to the old. Only in so far as it stands out against the old can the new be what it claims to be, only in so far as it is

Inbetween / Aby Watson and Ellie Dubois / Thur 19th March

1. wistŸŸ·ful 1. Full of melancholy longing or wishful yearning. 2. Expressing sadness or yearning. 2.

Inbetween / Aby Watson and Ellie Dubois / Thur 19th March

1. wistŸŸ·ful 1. Full of melancholy longing or wishful yearning. 2. Expressing sadness or yearning. 2.

The Sea and Growing / Steven Anderson / Thur 19th March

1. “… something in the live disrupts the process of recognition. Forced into a sense of relations that have to deal with the moment-by-moment temporality of the encounter, the co-ordinates that permit processes of recognition (making known) are disorientated. –

The Sea and Growing / Steven Anderson / Thur 19th March

1. “… something in the live disrupts the process of recognition. Forced into a sense of relations that have to deal with the moment-by-moment temporality of the encounter, the co-ordinates that permit processes of recognition (making known) are disorientated. –

Inbetween / Aby Watson and Ellie Dubois / Thu 19th March

1. There are no main characters – there is just a group of people on a stage. We are the heroes now – the dancers and the public.    – Pina Bausch 2. The greatest amount of care between performers,

Inbetween / Aby Watson and Ellie Dubois / Thu 19th March

1. There are no main characters – there is just a group of people on a stage. We are the heroes now – the dancers and the public.    – Pina Bausch 2. The greatest amount of care between performers,

Karaoke / Sleepwalk Collective / Weds 18th March

1. “While you’re here with us tonight we’d like to ask you to try not to think about the workings of your body. Your heart pumping blood, your lungs breathing oxygen (…) And fire. Don’t think about fire and sand

Karaoke / Sleepwalk Collective / Weds 18th March

1. “While you’re here with us tonight we’d like to ask you to try not to think about the workings of your body. Your heart pumping blood, your lungs breathing oxygen (…) And fire. Don’t think about fire and sand

Soiled / Jamie McMurry / Weds 18th March

1. “He struggled with himself, too. I saw it – I heard it. I saw the inconceivable mystery of a soul that knew no restraint, no faith, and no fear, yet struggling blindly with itself.” – Joseph Conrad, Heart of

Soiled / Jamie McMurry / Weds 18th March

1. “He struggled with himself, too. I saw it – I heard it. I saw the inconceivable mystery of a soul that knew no restraint, no faith, and no fear, yet struggling blindly with itself.” – Joseph Conrad, Heart of

Soiled / Jamie McMurry / Weds 18th March

1. “The thing was there, we grasped it in the living motion of a comprehensive action – and once it has become an image it instantly becomes ungraspable, non-contemporary, impassive (…) the present thing in its absence, the thing graspable

Soiled / Jamie McMurry / Weds 18th March

1. “The thing was there, we grasped it in the living motion of a comprehensive action – and once it has become an image it instantly becomes ungraspable, non-contemporary, impassive (…) the present thing in its absence, the thing graspable

Imagine Me To Be There / Sylvia Rimat / Weds 18th March

1. The knife glistens in the light. 2. – A mode of stabbing into the dark – stabbing – stab – I want to see stabbing.

Imagine Me To Be There / Sylvia Rimat / Weds 18th March

1. The knife glistens in the light. 2. – A mode of stabbing into the dark – stabbing – stab – I want to see stabbing.

Imagine Me To Be There / Sylvia Rimat / Weds 18th March

1. I remember when the man came on stage an poured blood everywhere. And when the women on stage took of her shurt and started cleaning up the blood. 2. The woman said the girl with the red hair and

Imagine Me To Be There / Sylvia Rimat / Weds 18th March

1. I remember when the man came on stage an poured blood everywhere. And when the women on stage took of her shurt and started cleaning up the blood. 2. The woman said the girl with the red hair and

Imagine Me To Be There / Sylvia Rimat / Weds 18th March

So there was the start we all enterd the room we all sat down we were silince so the lady on the stage she was tipping on her laptop so there was load of tiping she was talking abou a

Imagine Me To Be There / Sylvia Rimat / Weds 18th March

So there was the start we all enterd the room we all sat down we were silince so the lady on the stage she was tipping on her laptop so there was load of tiping she was talking abou a

Five Minutes to Move Me / Amy Rosa / Weds 18th March

1. “Performing stories about ourselves might enable us to imagine different selves, to determine different scripts than the ones that seem to trap us” – Deirdre Heddon Autobiography and Performance (2008) 2.

Five Minutes to Move Me / Amy Rosa / Weds 18th March

1. “Performing stories about ourselves might enable us to imagine different selves, to determine different scripts than the ones that seem to trap us” – Deirdre Heddon Autobiography and Performance (2008) 2.

There They Carved a Space / Emilia Weber and Claire Healy / Weds 18th March

1. Be In The Right Place At The Right Time With The Right People 2. For is 1984 here * Created Markets of Confusion * The Quoatation is A Response As It Serves as an Illumination & Lights A Lamp

There They Carved a Space / Emilia Weber and Claire Healy / Weds 18th March

1. Be In The Right Place At The Right Time With The Right People 2. For is 1984 here * Created Markets of Confusion * The Quoatation is A Response As It Serves as an Illumination & Lights A Lamp

Carpalspike / Kel Glaister / Weds 18th March

1. “I’ll draw a line and you follow it”. 2. I follow a line you have made for me. It crosses the other line in the room. My collaborator passes me and I giggle. Feet wet. Pressure on the shins

Carpalspike / Kel Glaister / Weds 18th March

1. “I’ll draw a line and you follow it”. 2. I follow a line you have made for me. It crosses the other line in the room. My collaborator passes me and I giggle. Feet wet. Pressure on the shins

The Cabinet of Curiosities / Shilpa T-Hyland / Weds 18th March

1. “archives are, first and foremost, theatres for repertoires of preservation, leaning toward and into a promise of the coming ‘liveness’ of encounter” – Rebecca Schneider Performing Remains (2011) 2.

The Cabinet of Curiosities / Shilpa T-Hyland / Weds 18th March

1. “archives are, first and foremost, theatres for repertoires of preservation, leaning toward and into a promise of the coming ‘liveness’ of encounter” – Rebecca Schneider Performing Remains (2011) 2.

Five Minutes to Move Me / Amy Rosa / Weds 18th March

1. “Root me to the earth and watch me fade away” 2. An affectionate and moving exercise in letting go, embodying the past and moving forward. A sensitive and rewarding moment embedded in the natural.

Five Minutes to Move Me / Amy Rosa / Weds 18th March

1. “Root me to the earth and watch me fade away” 2. An affectionate and moving exercise in letting go, embodying the past and moving forward. A sensitive and rewarding moment embedded in the natural.

Adrian’s Library / Weds 18th March

In response to the delight of finding Adrian Howell’s library quietly sitting in the middle of the room:   1.Death Dreams Where do people go when they die? Somewhere down below or in the sky? ‘I can’t be sure,’ Grandma

Adrian’s Library / Weds 18th March

In response to the delight of finding Adrian Howell’s library quietly sitting in the middle of the room:   1.Death Dreams Where do people go when they die? Somewhere down below or in the sky? ‘I can’t be sure,’ Grandma