Nobody’s Dance Stockholm December 2015
Facilitators: Eleanor Bauer, Ellen Söderhult
Documentation: Nassia Fourtouni
Participants: Eleanor Bauer, Ulrika Berg, Linda Blomqvist, Oda Brekke, Alice Chauchat, Anna-Karin Domfors, Nassia Fourtouni, Sara Leghissa, Manuel Lindner, Sandra Lolax, Aranxta Martinez, Maia Means, Halla Olafsdottir, Zoë Poluch, Sanna Söderholm, Ellen Söderhult, Mårten Spångberg, Rebecka Stillman, Andrea Svensson, Mandi Tiukkanen, Vanessa Virta.
List of practices:
7 December – DOCH
1)
Name: –
Shared by: Alice Chauchat
Origins: this is Alice’s group version of a duet form developed by Jennifer Lacey for her piece ‘Les Assistantes’, (in collaboration with Nadia Lauro and Jonathan Bepler, performed by Audrey Gaisan, Barbara Manzetti, Ana Sofia Gonçalves, DD Dorvillier, Jennifer Lacey, Alice Chauchat, 2007)
Notes: In the duet form, one person commits to following one person for the whole duration of the practice
Directions:
• At any moment, you may choose to either do something with your body which gives you
pleasure, or copy another person
• Pleasure is the horizon. You move to experience pleasure, following and focusing on
pleasure/enjoyment
• When copying, the follower does the same as the leader, as precisely as she can. Form is the
portal to empathise with the person you’re copying
• At any time you can choose/change your role between following or generating movements
duration: 30 minutes
2)
Name: The Winding Practice
Shared by: Halla Ólafsdóttir
Origins: from Halla Ólafsdóttir and John Moström’s ‘Giselle’, 2011
Music: Giselle, by Adolphe Adam, 2nd Act – the part of the Ballet when Hilarion dances himself to death with the Wilis (a group of ghost-like supernatural women who allure men into to dancing themselves to death)
Notes:
In this project/piece Halla and John were pursuing fleshy, vuluptous, sensual bodies and movement in the choreography of Ballet. The “winding” movement here comes from that idea.
“Winding is easily the most erotic movement the body can make with little effort. While winding youshould feel as if you’re a snake, shimmying through your skin. As your confidence in the movement increases, you will be able to incorporate more movement. Winding is a way of dancing that can be done in the privacy of your own home but also very often exercised in a social context in clubs and dancehalls. To wind is when something is wound about a center or an object and in this context it is
basically a sexy way of moving everything between hips and ass and neck in all directions. Music plays a big role when winding and it is very much about getting into the groove. This particular winding practice experiments with taking the winding moves and practicing it with classical music. The score is to follow and define all the instruments/sounds of the music you hear as you wind. Now you will find that since sometimes you hear more than one instrument at once. In those instances you
can choose if you want to go for all the instruments simultaneously but you also always have the option of only choosing one and then change instrument when you feel like it. The music and the winding are in some sort of confluence with each other where the body plays the music and somehow becomes its own orchestra.”
Directions:
– following/illustrating the music, you do oscillatory (circular and/or binary) movements, focusing on
mobilisation of the torso (pelvis, spine, ribcage, shoulders)
– think about movements around and through this central axis (spine)
– aim for a simultaneous relationship between sound and body
– you can try to embody all the sounds in the orchestra, or you choose one instrument or sound at a
time.
– if you are bored with yourself, you can copy somebody else
– the movement is improvised, but with repetition of practice the music becomes known.
duration: 10 minutes, 3 times through the same music.
3)
Name: –
Shared by: Linda Blomqvist
Origins: ‘Cosmos, the Beach’ by Linda Blomqvist, Madeleine Lindh, Sandra Lolax, DATE?
Directions:
– in trios
– one person lies on the floor, at first passive, while the other two move the person with touch
– the intention of the touch is to send and receive information through the bodies
– it does not have to be persistent, you choose to do anything that feels good to thematics- the person that receives stays passive in the beginning and afterwards they can choose to be more active
– slowly the person that receives becomes more and more active and all the people moving become more and more equal
– the goal is to build something together, working with pulling, sliding, pushing, gravity and resistance
– always stay in contact, but also be in and out
– start over, changing the roles you started with
duration: __
4)
Name: Symmetry Dance
Shared by: Mårten Spångberg
Origins: Mårten Spångberg in his piece ‘The Internet’ adapted this trio version from a duet form developed by Maria Scaroni and Jesse Curtis, transmitted by Keith Hennessy during Teachback 2014. In the duet form the two persons are facing each other.
Directions:
– in trios, standing in a row. people can be back to back, facing each other, or facing the same direction.
– execute only absolutely symmetrical movement. Mirrored in one’s own body along the sagital axis, R and L half of body mirror each other in unison, and the center line of the three bodies stays aligned.
This means no turning around the central axis, only folding in/out, inverting.
– contact, weight sharing, traveling over/under each other, traversing the group, all included.
– group variation: everybody stands in a long line and does it together (attach movie)
duration: __
5)
Name: The digestive dance
Shared by: Mårten Spångberg
Origins: from his piece, “The Internet”
Directions:
– in couples
– in a diamond position in space
– each one of the couple mirrors the movements of the one opposite to them
duration: __
8 December – DOCH
1)
Name: Dancing is…
Shared by: Zoë Poluch
Origins: using Lepecki’s “Parasitic Noisification” blog post as food:
http://www.newyorklivearts.org/blog/?tag=parasitic-noisification, Zoë Poluch and Stina Nyberg developed this practice during workshops, from 2012-2015
Directions:
Part one
– start from an ‘Open Dancing’ situation. This term refers to Martin Kilvady’s practice of ‘Open Dancing.’ Put on a playlist, minimum 25 minutes.
– there is no ‘in-order-to’ to follow. Not dancing to feel good or to show something or to achieve something, etc. It is non-instrumental dancing for the sake of dancing.
– adhere to the following three NO’s:
a) NO to training
b) NO to performing
c) NO to choreography
Part two
ONE SONG
– after doing the above dance for the duration of one song, write down a spontaneous, temporary
definition of dancing as you experienced it in that dance, writing in the form of starting with ‘Dancing
is …’ and completing the sentence.
TWO SONGS
– after doing the above dance for the duration of two songs, write down a spontaneous, temporary definition of dancing as you experienced it in that dance, writing in the form of starting with ‘Dancing is …’ and completing the sentence. After the second round of dancing to 2 songs we gather in smaller groups and read aloud our definitions to each other, no discussion.
THREE SONGS
-after doing the above dance for the duration of three songs, write down a spontaneous, temporary definition of dancing as you experienced it in that dance, writing in the form of starting with ‘Dancing is …’ and completing the sentence. Go back to the groups and share everyone’s three definitions starting with ‘Dancing is…’ Discussing all of the sentences gathered, try to form one sentence together, negotiating on the length aiming for a way of including/summarizing/combining of all the previous sentences.DANCE THE DEFINITION AS SCORE
– for five minutes or one song, each group dances their group’s ‘Dancing is…’ definition that they ended up with, taking the definition as a score.
– the rest of the people watching then try to guess what the dancing group’s definition is.
– all groups perform their ‘Dancing is…’ for the others, without revealing their written definitions until after the guesses have been made.
2)
Name: Dancing not the dancer
Shared by: Eleanor Bauer
Origins: the creation and performance of ‘Midday & Eternity (the time piece)’, by Eleanor Bauer with Rebecka Stillman, Cecilia Lisa Eliceche and Naiara Mendioroz, 2013
Notes: Rule #1 likely inherits from or is influenced by Debora Hay’s ‘Ready, Fire, Aim.’ Rule #2 likely inherits from or is influenced by David Zambrano ‘your whole self whatever you consider to be yourself.’ Rule #3 likely inherits from or is influenced by J. Krishnamurti and meditation practices.
Directions:
1. Say yes to the movement before you can recognize it.
2. Complete it with your everything.
3. You are the observer.
Additional explanation and tips:
Regarding rule #1: Don’t be late for yourself. As soon as you perceive any vague intuition or impulse or impetus for movement, act on it. But this does not necessarily mean you have to move quickly all the time – you can also think about listening for the movement, waiting for it, but once it emerges to move on it before it’s fully known. Eventually you can also observe ‘the balance between letting it happen and making it happen’ (this quote is from Martin Kilvady).
Regarding rule #2: include all of your physical, intellectual, artistic tools: training, percepts, habits, tastes, skills, preferences, ideas, performance, expression, etc to make it done. Place all of your faculties at the service of the dance’s execution.
Regarding rule #3, and the title: It’s not about identifying with the dance or expressing yourself with the dance or manipulating the dance. The dance is a thing that is happening through you and your body, and your role as observer is simply to observe without judgement what it is at every moment.
variation, in couples:
– one person dances ‘Dancer not the dancing’
– the other person copies aiming for perfect and detailed unison
– change roles of leader/follower
duration: __
3)
Name: Quotation Flocking
Shared by: Ellen Söderhult
Origins:
Directions:
– take time to remember three dances you know very well. they can be practices or choreographies,
from pieces or training. but three distinct dances you can identify and do.
– form a group in the space
– move together, in improvised/instantaneous unison, following the dance of the person in the visual front of the group at any moment
– when the facing changes, the leader changes too
duration: in two groups, one doing and one watching, twice each for the duration of a song
9 December – WELD
1)
Name: Hands on with voice
Shared by: Oda Brekke
Origins: From the process on the piece ‘that choreographs us’ by Benoît Lachambre, 2015.
Directions:
– in couples, one person lies down, the other person touches them
– After a while the receiver of the touch makes sound and send the vibration of the sound to the touch.
The person making sound can change positions.
– The person touching leaves the other alone.
– change roles
2)
Name: –
Shared by: Oda Brekke
Origins: from the workshop ‘sound and movement’ with Alma Söderberg, January and September
2015.
Directions:- Choose a word to begin with, and repeat it as a group, over and over again in unison. Aiming to repeat precisely what you hear from the whole group, the word will morph over time according to the different intonations and pronunciations and phonemes that people pick up from what they hear in the group and say. Allow the word to pass through different real or unknown words, focusing always on listening and reproducing the precise sound.
duration: ____
Variation, in order to arrive at the word to repeat at the start of the above practice:
Name: Mind Meld
Shared by: Eleanor Bauer
Origins: Improv Comedy 101 and 201 at Upright Citizen’s Brigade, NYC
Directions:
At the count of three, two people simultaneously say any word that comes to mind. Immediately after, on the count of three, they say a new word that combines the meanings of the previous two words somehow. Without repeating previous words, repeat until the two people arrive at the same word.
Duration: until the two people arrive at the same word.
3)
Name: Negating, Next To, Between
Shared by: Rebecka Stillman
Origins: Within Rebecka Stillman’s ongoing interest in relating to the discovery or invention of “new” things within/around/through or in relation to what one already knows, this score is developed/derived from or influenced by another method called ‘Middle of the Circle,’ which was created by Rebecka Stillman, Ulrika Berg, Eliisa Erävalo and Ludvig Daae in the creation of the piece “The New Dimension of the Idea” in 2012.
– start with a dance practice, score, or choreography that you know well, are familiar with, can identify and do.
– from this origin we will develop three chains of derivative dances: first in negation, second next-to, and the third between the two endpoints of the previous two derivative chains.
a) Negation:
Doing the dance you have chosen to start with, negating something in that dance or negate everything about that dance to come up with a dance that has nothing to do with the original dance. When you have stabilized/identified a new dance from negating the first, then negate something in or everything about that second dance to come up with a third dance which is different from the first two. Continue in this chain with a fourth and fifth dance for ___ minutes. At the end of __ minutes, define the dance you have arrived at, and make note of it in order to remember and be able to return to it (its qualities, form, properties, instructions, whatever.) Notate it somehow, written. b) Next-to: Doing the dance you have chosen to start with, do a dance that is somehow “next-to” that dance, something similar, neighboring, related, different but not entirely foreign to the dance you started with. when you arrive at a new, identifiable, consistent dance, then work towards a third dance that is ‘next to’ the second dance but not the same as the first, then a fourth and fifth and etcetera, creating dances in the same principle as above by repeating the modification of doing a dance ‘next-to’ the previous dance. at the end of __ minutes, define the dance you have arrived at, and
make note of it in order to remember and be able to return to it (its qualities, form, properties, instructions, whatever. Notate this dance somehow, written.
c) Between
Taking the end-points of a) and b) as your starting point, try to dance a dance that is between those two dances.
4)
Name: The Telepathic Dance
Shared by: Alice Chauchat
Origins: this was developed between July 2014 and May 2015, across contexts such as Teachback, workshops and open sessions where colleagues would be invited to join in the practice. It was initially called “puppeteering” and found its current name when the former one led too often to discussions about power.
Directions:
– in couples, one is dancing and the other is watching.
– the watcher sends the dance to the dancer, the dancer receives the dance from the sender/watcher. the resulting dance is a collaboration.
– eye contact is not necessary, the dance is sent to the space in general
– whenever you feel that you’re not doing it, or you start doubting if you actually are doing it, stop and start again. you don’t need the other to also stop, just reboot.
– the telepathy is not a test to pass or fail, it is the accepted condition of the dance and the relationship of the watcher as sender and dancer as receiver.
– after ___, exchange rolesVariation: in trios, one person is sending and two are dancing
10 December, WELD
1)
Name: –
Shared by: Sara Leghissa
Origins: this is a training we use before starting work: the practice part a) comes from danceWEB 2015, it was a way to relax together during a party night; part b) comes from observing children playing at the park; part c) comes from a training I do with Giorgia Nardin, an italian choreographer, to warm up the body in a strong way and on the music.
Directions:
– dance to the music as you want, but be with the others
– while you are dancing you have two additional activities, followed by a third event:
1. ‘head party:’ touching heads with another dancer, give your weight through your head to
somebody else’s head
2. ‘I kill you, you die:’ when you think someone else in the group needs a rest, you make the gesture of shooting that person with a gun and that person falls on the ground and relaxes until someone revives them or they choose to return.
3. at some point during the playlist, near the end, when people are very warm, Sara leads the group into a circle for a series of intense strength-training movements in unison – push-ups, abdominals, etc.
2)
Name: Playback
Shared by: Sara Leghissa
Origins: this performance practice came from a workshop I did with Silvia Calderoni, an Italian actress.
In the form that we proposed it when we gave the workshop together, we asked everybody to choose a song that he or she really loves and perform playback (lip-syncing) of it in front of the others, but here I proposed the playback in the same form that Silvia did: with un-announced songs chosen by a person playing dj.
Directions:
– one person at a time goes to the space at a time, the others are watching
– someone else plays music with words
– the person performing lip-syncs the words,- the person lip syncing performs as they want, but tries to adhere to the task of lip-syncing the words
correctly and convincingly, whether or not they know the song
3)
Name: –
Shared by: Eleanor Bauer
Origins: the creation and performance of ‘Midday & Eternity (the time piece)’, by Eleanor Bauer with Rebecka Stillman, Cecilia Lisa Eliceche and Naiara Mendioroz, 2013. This particular score was developed from discussion of a similar task that Rebecka offered which involved prediction of another person’s movements, from her work together with Ulrika Berg, where they developed predictions based on each other’s singing and also on ones own movements as seen on a TV screen filming them.
Directions:
– three (or more) people dancing together
– while dancing, you look at one of the other people moving (or in stillness) and you take a ‘snapshot’ of their movement as a departure point in order to predict their next movement.
– perform immediately and as accurately as possible the movement you predict or ‘see’ them doing next
– you do not have to pass through their starting position or repeat their previous movement in order to
do the movement you ‘see’ coming next.
– it helps to look away from that person once you have chosen their departure point, in order to execute accurately what you foresee coming next without distraction from what they are doing, which is likely not exactly what you predicted and are doing.
– when you have finished executing the movement you predicted as far as you predicted it, return to the others and look at another body in the trio or group (or the same person) to take a new departure point.
– try not to continue with or ride the momentum of your own dancing: your dance should always be the dance of the futures you are predicting from the other bodies
– you can predict different durations of futures, different dynamics, levels of detail, direction, etc. The rhythm or scale of your predictions and what you consider one movement at a time can very.
4)
Name: The Oracle Dance
Shared by: Zoë Poluch
Origins: Elsewhere & Otherwise seminar, PAF, summer 2015 , with Valentina Desideri and Halla Ólafsdóttir. The practice was introduced as something the coaches were doing during Impulstanz 2015 but they could have also developed it during the previous year… “Absolute” origins unknown.
Directions:
– Roles:
1. The Oracle is one or more people, dancing together (watched by the others).2. The person that asks a Question (which the Oracle does not hear) to The Reader (this person can decide to only listen to The Reader and not look simultaneously at the dance).
3. The Reader, who interprets The Oracle and answers the person asking, also at a volume that The Oracle does not hear.
– Notes:
1. The Oracle knows everything and is always right. The Oracle decides the duration of the answer. The answer duration is determined by when the oracle stops dancing.
2. Any question is valid.
3. Any answer is valid. The Reader can speak as frequently or infrequently as makes sense to them during the Oracle’s dance.
5)
Name: restprodukter
Shared by: Sanna Söderholm
Origins: from Sebastien Lingserius’ ‘Bod(ill)ess’, 2012
Directions:
– in couples, one lies on the floor, the other touches
– the one who touches a part of the body, gives information (direction, push, pull, displacement) and allows the repercussion of touch to happen, observing the residual movement that results from the touch.
– softly in the beginning, gradually the touch becomes more and more active and the repercussion too
– eventually, the mover imagines the touch and performs only the residual movement of the imagined touch.
11 December WELD
1)
Name: –
Shared by: Anna-Karin Domfors
Origins: score from Alessio Castellacci’s workshop
– each person wears ear plugs
– spread out in the room, people make sounds and move from the sound
– start with a personal trip and choose either to continue alone or to interact with the others
2)
Name:Shared by: Linda Blomqvist
Origins: Score from the process of the piece ‘Cosmos the beach,’ with and by Linda Blomqvist,
Madeleine Lindh and Sandra Lolax, 2015. Score inspired by a show called ‘Silicon’
Directions:
– in trios
– sitting in a row, the person in the middle faces a front and the other two face the person in the middle
– the two people on either side facing the person in the middle, ask the person in the middle questions, and the person in the middle answers.
– after the session of questions, the two people that asked the questions share something (verbally) with the person in the middle (something about that person, or a thought that came up while asking the person questions and hearing their answers, or anything else.)
– after the sharing, the two people make sounds, addressing the person in the middle and creating an audial environment/landscape for the person in the middle, listening.
Durations: open
3)
Name: –
Shared by: Ellen Söderhult
Origins: Rachel Dichter workshop
Notes: In the full version, in couples, two people undress as far as they want to, keeping eye contact all the time (accompanied by ‘rather touching classical music’), and making statements in the following phrasing: ‘I think you…’ Whatever the statement is, the reaction from the other person is ‘that’s not me.’ After a given duration of 10 or so minutes, the speaking roles switch for another 10 or so minutes. After this, one person lies on top of the other, talking into the ear of the person below non stop, and then
switch roles here too. In this version, we will only do the first part of verbal statements and answers, without undressing, and no music.
Directions:
– in couples, maintaining eye contact the whole time.
– one person makes statements about the other person, by guessing about their past, their preferences,
their feelings, ideas, personality, anything observable or unobservable, guessed or known or not known.
All statements start with ‘I think…’ (as in ‘I think your favorite color is purple’ or ‘i think you come from an artistic family.’ and etc.)
– the other person answers every statement with, ‘that’s not me.’
– After (duration), exchange roles
4)Name: Commentary Commentary
Shared by: Mandi Tiukkanen
Origins: from a project she did while at DOCH, called ‘Talking relevant bullshit’ and inspired from sports’ commentary
Directions:
– in couples, one person dancing, the other person talking
– the person dancing is (by dancing) commentating on the room, the space, the people and things in it
– the person talking is commentating on the dance.
– firstly, the person talking tries to explain what is happening inside the body of the dancer
– secondly, the person talking tries to describe the dance as a thing from the outside
Duration: –
5)
Name: Doctor and Patient
Shared by: Linda Blomqvist
Origins: Mårten Spångberg and Alix Eynaudi’s ImPulsTanz workshop, Vienna, Summer 2015
Directions:
– in couples, one person is the patient, the other is the doctor
– the patient describes their problem
– the patient does a dance for the doctor (?)
– the doctor listens and responds verbally
– the doctor does a prescription dance and the patient writes it down
– the doctor gives a treatment dance
12 December, DOCH
1)
Name: Chakra Walk
Shared by: Ulrika Berg
Origins: a warm-up for the mind and body before (or during) working alone in the studio on her master’s project in New Performative Practices at DOCH
Notes: This developed while walking on the same path through the woods again and again, a path Ulrike knew well, so that the landmarks of the woods became cues for when to move through the score.
This way the environment for the score became part of the score.Directions:
– While walking outdoors, pass through one chakra at a time with your attention and thoughts, starting with the first/root chakra and ending with the crown chakra.
– While attending to each chakra, use everything you know and have heard about that chakra to frame the contemplation or observations while walking. (Example: The first chakra is red, is located at the base of the pelvis, is about individuation, the “I.” rooting, connects to the feet and to the earth, etc.) So in each chakra you focus more on the associated parts of your body, subjectivity, sensations, feelings, thoughts, use the image or color for visualisation, etc.
– You can do this on a path you know well, and divide the path into 7 segments, one for each chakra.
2)
Name: Companionship Dance
Shared by: Ellen Söderhult
Origins: by Alice Chauchat, from ‘Togethering, a group solo’ (2015)
Directions:
– no music, have papers and pens prepared on the sidelines
– dancing together with others, your dancing is a form of companionship
– keeping company to yourself and to other people in the room
– what generates your dancing can be anything, the sensations of your body, touching the floor or the
air, visual sensations, sounds, the sense of weight
– an image is introduced, that of ‘Lady Companionship.’ In England, (18th & 19th centuries) a ‘Lady Companion’ was a woman that was hired to be the companion of an other lady. Her job was to keep company.
– the second image that is introduced is a bit more unclear. Two lines – one person follows this path that maybe has snow and the other people are following
– continue keeping companion to yourself and the others
– when you feel like it, you can exit the dancing and write a poem. the poem can be about the dance you did, the dance you are seeing, or can be a companion to the dancing.
3)
Name: Quotation Flocking (variation)
Shared by: Ellen Söderhult
-repetition of ‘Quotation Flocking’ but each one has only two dances to quote now
Variation:
Eleanor’s proposes the same procedure but to open the dances one can quote to anything the dancer has seen or done or is reminded of in the moment.Name: ‘Quotation Machine’
Shared by: Eleanor Bauer
Origin: Inspired by Ellen Söderhult’s ‘Quotation Flocking’
Directions:
Same as ‘Quotation Flocking’ but when the dance passes to a new leader, the new leader does any dance that the previous dance reminds them of. The idea of what is a quotation and what is invention becomes hazy, but the people leading try to think in terms of quotation or reference.
4)
Name: Perfect Movement
Shared by: Eleanor Bauer
Origins: Salva Sanchis
Directions:
– first practicing solo/individually
– preview/plan the movement that you will do, be as precise and thorough as possible, and then do it, as accurately as possible according to plan.
– before doing, define exactly how it will be, the beginning, the middle and the end, including shape, form, directing, pathway, dynamics, effort, sensation, gaze, sequence, weight shift.
– when this is clear, go into couples
– one dancer is practicing perfect movement, with eyes open. the other dancer, with eyes closed, touches the person who moves (easier somewhere in the centre of the body) and tries to move in unison, with eyes closed, gaining information on the leader’s movement through touch. the person practicing perfect movement should take care not to run their partner with eyes closed into anyone or anything else, but otherwise does not try to edit or adapt or construct their movement in any particular way for the follower. just do the perfect movement task as faithfully as possible.
– after a while, when the connection is strong, the follower opens their eyes. continue in unison, using both the touch and visual information to inform the unison.
– after a while, when the connection is strong, the follower removes the touch, continue dancing in unison, only watching.
– eventually also increase the spatial distance between partners, or experiment with proximity and distance
– exchange roles
Duration: approx 7-10 minutes perfect movement alone, approx 20 minutes per role going through the whole trajectory from eyes closed to open and not touching.
5)
Name:Shared by: Eleanor Bauer
Origins: A combination of scores from the ‘Dancing not the Dancer’ workshop in Vienna
Note: In the original version in Vienna, we combined also a fourth option of doing Dancing Not The Dancer with another person’s body as the source, as in: you say ‘yes’ to THEIR movement before you can recognize it, complete it with your everything, and you are the observer. The proximity of this score to the Near Perfect Future score is confusing at first, so for this version we did a simplified three options.
Directions:
– Combining the ‘Dancing, not the Dancer’ score and ‘Near perfect Future’ score, you have three options, dancing with others:
1. You do your own ‘Dancing, Not the Dancer.’
2. You dance in unison with someone else, following them.
3. You do ‘Near Perfect Future’ – predicting the future of someone else.
– switch between those three roles freely, in any order or rhythm.
nobody's business 