Dyspraxics dating sites

Posted by / 12-Jun-2017 05:26

Dyspraxics dating sites

He wrote his Ph D on awkwardness and audience participation.

We are both performance artists with an interest in audience participation.

Thus guaranteeing intrigue for all parties – artist and audience in the same way. I don’t refer to this to divert attention away from the point, but rather to hone in on it.

LF: For many, I imagine the most important part here is not the narrative but rather the ideas following the narrative that I had and compiled as an extensive volume of notes which I brought to present to you at the studio. But you practice your tripping-up pro-wrestler style behind me where I cannot see you like we have not discussed ever and that’s where the audience focus their attention. LF: I was told that one of Agatha Christie’s rules was to decide at the start who the murderer was, then half-way through writing the book randomly pick another character to be the murderer, and then for the rest of the book work out how they could have been the murderer.

LF: But it was a planned absence, so we pre-recorded all your parts to compensate for that and the volunteer participant in the performance had to listen to you and repeat your lines.

LF: But that’s not offensive or rude because I utilise your inattentiveness as an editorial filter – made necessary, due to the fact I find it hard to prioritise when compiling my own ideas. DO: I was trapped due to a chain of events set in motion by the volunteer participant working out how time-travel during the course of the performance based on my pre-recorded lines.

We have been making work together for fifteen years, since meeting on the BA Contemporary Arts degree at Nottingham Trent University.

We have had lots of names over the years, including Aunty Nazi, Daniel Oliver and Mr Ferris, and Daniel Oliver (Introducing Harvey Harris). Our practice comes in the form of two-to-one performances, talks, consultations, videos, and, most commonly, 20-40 minute shows. We have discovered that this makes it difficult for us to describe our practice. Firstly, we write as if you already know who we are, or that you should do – as if we are part of the performance art canon. Secondly, we suggest that it is possible that none of this stuff actually happened.

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