100 and 1

1. Make a list of 100 performance pieces/events/happenings and let that be the performance piece/event/happening.
2. What would your hands say if they could talk to each other?
3. Write the story of your day on a piece of toilet paper and let it unravel.
4. Make a pile of unravelled toilet paper and film the architecture it makes.
5. Turn around and around and up and turn and back again.
6. Musubi.
7. Ask if anyone has a great idea?
8. Find the most impossible task and try and do it and fail and tell yourself it is ok because that was an impossible task.
9. Make a poem only of conjoining phrases such as; such as, and so i….
10. Readout all of the lists you have made in your notes.
11. Read your tea leaves.
12. Turn all of the pictures in your room upside down and pretend you are in no gravity.
13. Read all of the opening lines you have ever sent on tinder, including the gif of the whale saying ‘whale hello there’.
14. Eat bread, even though you are intolerant to it, and get your friend to listen to the sounds your stomach makes.
15. Use one of Yoko Ono’s performance pieces from Grapefruit.
16. Don’t look at a clock all day and then when you feel it is right guess the time and see if you know what time feels like without time.
17. Zoom out and out and out and out and out and out.
18. Say the word nineteen, nineteen times in nineteen different rhythms.
19. “Finally I came to prefer the risk of falling to the arrogance of solid ground” (Waldrop 95).
20. Recall the story of the blackhead on your brother’s back that he thought was a mole for five years. The Five Year Blackhead.
21. Eat Zizek’s Event.
22. Photograph the corners of rooms, the spaces where nothing happens.
23. Make a PowerPoint of all of the disgusting rooms in London on Spareroom with Marx's words over the top; “Capital is dead labour, which, vampire-like, lives only by sucking living labour, and lives the more, the more labour it sucks”.
24. Make a powerpoint presentation of the best powerpoint presentations you have ever seen.
25. Think about Jake Glanc’s six word story; Says the man in the suit.
26. Don’t exclude anything.
27. Project on the floor what is happening on the ceiling.
28. Mark a territory out in your room with string and write a manifesto of what your string world could be and should be.
29. Wrap all your objects in string and try and use them in the way you would normally.
30. Read Brian Masumi’s Concrete is as Concrete Doesn’t. Make a dance piece staring yourself and a piece of concrete.
31. Record everything anyone said to you for one whole day.
32. The floor is lava.
33. Make a dress out of your socks that have holes in them.
34. Figure out where all the socks disappear too.
35. Do a performance on the theme: pause.
36. Figure out what is the most you can do in a 5-minute break.
37. Make a performance in which every next event that happens is due to a misunderstanding in the previous event.
38. Take your photographs of the corners of rooms and play INFERNAL’s From Paris to Berlin over the top.
39. Montage of a fan blowing air and someone laughing.
40. Montage the mountains and this list.
41. Make a yellow page’s costume and give out numbers to people which they have to call.
42. A quincunx - as Barthes writes - a spiral always the same points but not at the same level.
43. Culture is always hybrid therefore make a hybrid creature of your own. A theatre cyborg. An intersectional animal of performative gender.
44. "People consume more when their wrists are bound" (Preciado 24). Do an act of unbounding. Of course this must alleviate someone of being genuinely bound by the system.
45. What is the difference between the image and the action itself? Be an image. Be an action.
46. Say something extremely personal very far away from the camera.
47. Dispersed authorship performance piece.
48. Hold a game of Chinese whispers.
49. Make a piece with only very cliche sayings; that's the way the cookie crumbles.
50. Crumble 10 cookies and see how the cookie does in fact crumble.
51. Start an action and stop and start another and stop.
52. Perform your parents divorce to your parents.
53. Ask your friends and family what they would make a performance about.
54. Mum: A mother and daughter watch the election together.
55. Dad: Don't worry I'm working on my performance. I'll send you more later. In fact that could be another performance . Xxxx
56. Brother 1: Two people are thinking on stage. One reads leftist poetry in Spanish, Italian, German, Turkish, Kurdish, Ukrainian and Arabic. The other drinks olive oil until they have violent diarrhea on stage. End scene. The struggle against fascism.
57. Brother 2: Draw 5 pictures of the Aunty that lives in your head. The one that tell’s you to do fun things.
58. Dutch friend: people in oversized suits are discussing tiny insignificant details while slowly the temperature in the room is turned up.
59. Drama school friend: two people coming together e.g. a drag queen and an old woman or banker and an uber driver. Two people brought together by anything doesn't have to be corona but being brought together and the conversation and relationship that unravels.
60. Bartender: it's called the first song ever. It's about the big bang. It would have these characters that explain what happened to people who don't understand it. If there's an explosion then it's still happening. The first song is still being heard.
61. Lover: Something relating to the pride of Britain. Some ritual or walking or something. But linked to an overcoming, an improbable personal tragedy that people admire me for. This is the kind of aesthetic i want *image of an Elvis Presley and Pharoah magazine* But with added personal tragedy. And performative overcoming.
62. Housemate 1: Go to an old bookshop on witchcraft. Have them recommend you others. Walk the streets guided by this piece of paper written by a witch. Know that witchcraft is about making things sacred.
63. Housemate 2: Listen to the post. Maybe it has something to say.
64. Try and make just one thing that isn't self referential and annoyingly post modern.
65. Try and make something that is the most self referential and annoying post modern.
66. Karaoke David Graeber.
67. Performance about bureaucracy where it doesn't actually begin because you can't find your ticket and the actor has too much paperwork to do.
68. In the middle of the bureaucracy show come in on a bureaucracy boat that sails through the sea of papers and say "the form is available online. Please print and sign your copy"
69. Say "maybe I'm just like my mother" over and over again whilst you do something very unlike your mother.
70. If performance is about community for you, work on a list of another hundred performance pieces/happenings/events with someone you don't know.
71. Perform your day but in opera.
72. Fill your room with very tall jellies. Try and walk through the room without them wobbling.
73. Repent.
74. Film objects falling but just before they hit the ground cut to another. Never see an object hit the ground.
75. Take the phrase 'hit the ground running' and turn it into 'hit the running ground' and make that happen.
76. Mute a soap opera and speak over with only the words "happy" and "sad". Happy happy happy sad sad happy.
77. Mute yourself talking at camera and put over the top the sound of an old man grunting.
78. Get your speakers and play bella ciao as loud as possible in the street so that your neighbour's know you're on the right side of history.
79. Write a letter to historians everywhere telling them that they got it all wrong and history doesn't exist it's just people's stories and we only listen to the rich white mens stories anyway so it's all a hoax and they should find another profession or maybe start fessing up to that fact or realise that they should do a history of emotions and then maybe I would read it.
80. Adieu adieu to you and you and youhuu.
81. What could archiving emotion look like?
82. Make a podcast which intersects a geologist discussing rocks with someone else talking about rock music. Call it sedimentary sounds. Say things like 'rock on' and 'stay grounded'.
83. Liminal space is a popular concept.
84. The anthropocene is a popular concept.
85. Affect is a popular concept.
86. Make a list of popular academic concepts and figure out why they are so sexy and if they actually help.
87. The body marks the score.
88. We are all octopuses.
89. Play with scale; suddenly realise far away or person is behind a fish bowl.
90. If the B I U symbols could speak, what would they say?
91. 'The ancien regime (political, sexual, racial) criminalized all practices of crossing. But whenever the passage is possible, the map of new society begins to be outlined, new forms of production and reproduction of life" (Preciado 41).
92. What Èdoudard Glissant calls 'a trembling' [un tremblement].
93. The act of naming: rename a series of objects and use these new words for a day. How do the words feel?
94. Go to 5 'liminal spaces' and discover what makes a space and when change into a place.
95. Don't speak I know just what you're thinking.
96. Read on the street the emails sent in the labour party that show that Jermemy Corbin was framed as anti-semitic in order to get him out.
97. Act of translation. Pick a phrase and translate it to the body. Get someone else to read what you are trying to say. Have them say something back. A conversation in body language.
98. Take all the common Dutch sayings and translate them directly into English e.g. “throwing soot for dinner” which means “ruining dinner”.
99. Make an investigation into the things that people collect. Why do you keep particular objects and not others?
100. Make a list of everything you are ashamed of and share it.