Strangly, as time shifts or, one could argue, expectedly, if one were inclined to do so, time although mottled and hued, acts as an indicator of assemblage (via perception) rather than the assemblage its self or its causation.
Time causes assemblage to splinter and crack, to redefine its splicing, to follow the creative timbre of perception.
Time, as we know, is non-existent, however it is a notion that corresponds to animate, human consciousness. Therefore we can take it that time is existent, atleast to human experience and this misapprehension is necessary, in one shape or form, for human understanding/life.
So, leaving time aside, perhaps seeing it as "flow" like a subatomic particle that passes through things, through people, we are left with assemblage, perception, the Internet and the Theatre.
The playfulness of the Internet experience, that questionable "I"; a place, surely not mon amis (!) leads my thought to shift from one intent, my intended intention to a happenstance intention, one brought about via the virtual world.
It is odd how assemblage, in this sense meaning corresponding ideas and things that assemble in some such way, and then with the passing of time/flow, reassemble in some other way..... It is odd how the stuff of this assemblage, by this I mean the instinct towards creativity, or ideas and their practical execution (things or movement) (tangible expression), alters its definition and outward form, yet the intrinsic stuff (creativity) that is expressed alters very little.
I make no apology for my use of dance-terms, such as "flow", "form", "shift", etc. to express my comprehension of time, assemblage, perception, the Internet and the Theatre. Dance is a very human form of expression, at once apprehensible and deeply evocative. In her book "To Dance is Human" Judith Hanna writes "When dance is suppressed for moral, religious or political reasons, it rises pheonixlike to assert the essence of humanity." Its current popularity would naturally flow then!
By this I refer to the increasing urbanisation of British culture, the increasing change and ever-increasing technologization of Western life and the political and economic malaise and stagnancy of Western life. There are of course, a plethora of other reasons why dance is the current "obsession".
As these notes grow in shape, content and form, ideas, freestyle, occur and the playfulness of Internet writing reminds me of the playfulness of dance, its bodily necessity and bodily enquiry.
The Internet, a fickle and dramatic computer "world", once again, emphasizes the human need to perceive something as humanly explicable, metaphorical, communicable and malleable.
The Internet, of course, is nothing more than electronic connections, shared computer space, a function of human creativity. Yet, being human, to us it is a "virtual world", something intriguing, full of intellectual and practical possibilities.
Of course, the Internet is a theatre.
(Notes not yet complete)