http://www.singingbridges.net/diary/ Weblog of sound artist Jodi Rose en-us Jodi Rose 2010-07-18T12:58+00:00 hourly 2 2000-01-01T12:00+00:00 I finally found my dark angel of the bridge, a day late. He was there at the event, helping strap the contact mikes into position, and keeping a watchful eye over the crowd. Quite literally a guardian angel. I sent someone to ask at the time, but didn't quite get the message across that I just needed someone to wear the black wings and escort me across the bridge - afterwards, he said 'oh, is that what you wanted? And the wings are black - of course I would have loved to be your angel.' It turns out that he was, and many other people's too along the way, in a fuctional not a performative sense. The angel Jimmy only made himself known after the fact, ain't that always the way? Using angels as a metaphor for communication, French philosopher Michel Serres reflects on global space as a worldwide network of messages, as a space filled with angels, who come to us in places of transition and passage. Wandering with no fixed habitat, their is an unstable nature and they have a dual role as verbal messengers and elemental fluxes. Angels in this case being understood as messengers, the nomadic mediators who circulate between worlds and whose constant movement creates networks and points of connection, bringing together people and places in unexpected ways to create new perceptions.* *Jane Rendell The relationship between place, subject, experience and perception is heightened on a bridge, where you are displaced from the certainty of a fixed location to walk through the gateway (pylon) in-between, from one side to another is a threshold of possibility. Literally suspended in the air, moving through space outside the boundaries of you destination, the bridge could take you anywhere, water flowing beneath you speaking of connection to far-off lands and people. I guess that's a lot for an audience to take in through a conceptual sonic moment! Reflecting on the Bridgeland opening ceremony, I'm through the terrifying dark haze of post-event trauma, where I managed to step away from the abyss of self-flagellation and loathing that inevitably follows the act of revealing something of yourself through creative work in the public sphere for the world to comment on, applaud, disdain or ignore. There may be people who have such cast-iron confidence that they can take all the reactions in their stride and with a large grain of salt, but I'm still learning not to focus on the negative until it overshadows every other response and feedback. Let's get the criticism out of the way first, shall we, so I can move past it and end on a positive note... Apparently, some people were 'expecting something more spectacular,' with the only mention I found online in the days afterwards being 'it was ok but I was a bit disappointed.' Thanks for that intelligent engaged critique! Luckily some other people had more considered responses to the piece. Since we are living in the society of the hyper-spectacle, of course I can understand that - I was hoping for something more spectacular myself, but somehow even the virtual fireworks I had planned (along with the toast in imaginary champagne) got lost on the night in the unpredictable mix of events. I did happen to be on a bridge this last new year's eve, where haphazard self-launched rockets and lanterns were shooting out from all sides into the night in a chaotic spectacular. That would have been a lot of fun and I did think of re-enacting the moment, however it did prove a little tricky to get permission for, and somehow our extremely minimal budget didn't quite run to pyrotechnics. It's strange being in what was actually the second tier of this big international art festival - so with some funding but nothing like the extravagance of the five main commissioned works - where everything was pulled together on personal contacts, favours and goodwill. It's quite extraordinary in fact what you can make happen on less than a single airfare from Australia. Although yes I confess I would love the Artstar budget! So, back to the show and what really happened on the bridge that night.... Inevitably the technical set-up took much longer than expected - aiming for midday, we didn't start unpacking the gear until 2pm, and even with all the helping hands it was around 5:30 when sound-check took place. One of the pleasures and challenges in making site-specific single performance work is that you have to respond to the conditions on the day without knowing exactly what will be in store. Managing the locations of all the gear was the first step, after walking through the performance with Dav, Becky, James and Kris to give everyone an on-site overview. Starting with the gazebo and desk, moving through cables, speakers, stage, microphones, ramp, electricity, lights was a complex and lengthy process. I retired to the avenu cafe across the road, assisted by the gi & lowsalt volunteer to prepare ceremonial sashes for the lamp-posts and bridgelanders lapels. These proved very popular with visitors and helpers alike, some people demanding them as souvenirs. I was very conscious of making the sense of occasion evident throughout the space, and ordered the gold satin ribbon as it was the colour with least possible contentious reading - and wonderfully celebratory. When it arrived (being finally able to purchase from athena crafts online - after 2 days trying to track down through wholesalers and manufacturers) I was thrilled with the 'beautiful bright buttercup yellow', which being made in Thailand is quite possibly the Queen's favourite yellow-gold, and the exact same colour as the cables on the Mega Bridge in Bangkok. Kris and Becky had screenprinted our lovely bridgelady logo onto them - I was also very happy to be bringing Dolores back onto the bridge, as her statue had been removed for renovation only last week - and we did the final measurements for the ribbon-ties to keep them from drifting off the bridge in the wind. The river has its own microclimate - of which extremely windy and 3 degrees colder than the rest of town seem to be the main features. The bridge looked gorgeous and highly festive decorated in the gold sashes, and immediately suggested a sense of ceremony. I had designated the north side as the start, and insisted on having people brought across in small groups, with an 'initiation' into the space through the sound of the gong-like red metal suspension bars, which I struck as people crossed over the middle of the span. The provocation I had given the fabulous bridge guardians to Judd and Lou was to question people about something a little esoteric - a childhood dream, something they desired or inspired - as a way of entering the conceptual space of Bridgeland. Judd did a brilliant job in this, describing to me later how he asked people to imagine a memory when they were really happy - tears running down your cheeks laughing happy - or to project themselves a very short time into the future, where something they really love is waiting for them, and to feel the glow of that pleasure. He told me - 'I didn't let anyone cross until they had a cognitive moment', and he could see their eyes lit up with the memory or anticipation - one man taking ages and holding up his group of five or so, until finally he got it and was allowed across. This grew partly from our joking about the Monty Python 'bridge of death' sketch (the first three questions being: what is your name? what is your quest? what is your favourite colour) and was also a serious element in designing the interaction between the audience and the space as part of the performance. Anticipation! The ritual part of striking the bridge as a gong while people crossed also related to an experience I had in the Thai temple Doi Suthep, on top of a mountain just outside Chiang Mai. Here a cheeky young Buddhist monk who was conducting the blessing of visitors looked up at me sitting quietly to admire the Buddha statues, and flicked the water from his bowl across the heads of a group of tourists so that it reached me. The personal interaction and sense of joy it gave me still resonate, and inspired the gesture of welcoming people into bridgeland while they crossed the bridge. This was one of my favourite parts of the evening, it was lovely to see the large crowd of people who had turned up as they drifted by in small groups. Some laughed and chatted with me, looked around them at the view, or stopped to listen to the sound through of the structure through the megaphone I was using to amplify the contact mike (a very simple set-up that echoes the way I have made the bridge recordings for the past ten years), while others were a little bored or confused or just too cool to look interested. The other highlight for me was to see how people who were simply using the bridge in their daily life reacted to the event. I walked down to the arch under the pylon on the Southside, where Dave was plucking gorgeous melodic phrases out on his double bass as people walked through, and prepared to make my opening speech. At that moment, a local couple passing by walked into the space in front of the audience, where the diminutive and very glamorous girl proceeded to completely steal the show with her wonderful breezy patter 'Oh, for me? You're all here to see me... for one night only' she primped her hair and posed as though it was an talent show, making it a little hard for me to take to the stage with the ceremonial solemnity possibly required. I loved that moment though, wish I had invited her to declare the bridge open! This was planned for after the musical part of the evening, however by then people had drifted onto the bridge or off into the night, so in a future version I would definitely make all the important speeches and ceremonial rites at the start. That was the main disappointment for me in terms of the opening not really taking place - I had an invocation to the spirits of the bridge, the voice of the bridge, the trolls and the angels to join us, inspire us, protect and guide us - but with the last minute technical run, interruptions and no time to get zen beforehand, this kind of ceremonial voice wasn't there. Everything else was as smooth and successful as you can get in a large scale public environment with no time for a full run-through or technical rehearsal. The music was highly structures, with many meetings of the musicians and myself, although Guy and Dave's carefully prepared signals went unused as the setup meant that one could see only light and the other darkness.... I started by 'playing' on the cables of the bridge, to awaken the spirit and hear the voice - first with a broken umbrella that Guy had found on an earlier site visit, and then with our sign-master extraordinaire Nick's berimbau, which made a wonderful oversized bow. Dave started to join in on the double bass, and after I finished he took over the musical focus, with a composition of prepared and live samples being played and mixed by Guy. We had the piece developed in three parts, the first being the crossing of this bridge, then tuning into to many bridges and finally the 'opening' of Bridgeland - all through the sound. I attempted to create a human tesla coil in the audience by moving through the crowd joining people's hands, however this didn't really take. As the first drone part with micronations, bass and bridge faded into our minimal midsection, I then took to the radio - tuning into the stations on the fm dial as the voice of Dolores Ibárruri came through the static and rang out with her passionate declarations of freedom and democracy. Someone told me later this was his favourite part as he loves her statue so much and recognised the voice - or at least the Spanish - it turns out that she is one of only three statues of women in Glasgow. The others being Queen Victoria and the girl telling me forgets who the third one was. I liked the voice of La Pasionaria coming through the years and inhabiting the bridge which she looks over. Finally I tuned into the sounds from other bridges also coming through the radio, and that developed into the final section of psychedelic sonic insanity! I've been collecting experiences from people who were there, but that's enough for today - join me again for more later. *Jane Rendell The relationship between place, subject, experience and perception is heightened on a bridge, where you are displaced from the certainty of a fixed location to walk through the gateway (pylon) in-between, from one side to another is a threshold of possibility. Literally suspended in the air, moving through space outside the boundaries of you destination, the bridge could take you anywhere, water flowing beneath you speaking of connection to far-off lands and people. I guess that's a lot for an audience to take in through a conceptual sonic moment! Reflecting on the Bridgeland opening ceremony, I'm through the terrifying dark haze of post-event trauma, where I managed to step away from the abyss of self-flagellation and loathing that inevitably follows the act of revealing something of yourself through creative work in the public sphere for the world to comment on, applaud, disdain or ignore. There may be people who have such cast-iron confidence that they can take all the reactions in their stride and with a large grain of salt, but I'm still learning not to focus on the negative until it overshadows every other response and feedback. Let's get the criticism out of the way first, shall we, so I can move past it and end on a positive note... Apparently, some people were 'expecting something more spectacular,' with the only mention I found online in the days afterwards being 'it was ok but I was a bit disappointed.' Thanks for that intelligent engaged critique! Luckily some other people had more considered responses to the piece. Since we are living in the society of the hyper-spectacle, of course I can understand that - I was hoping for something more spectacular myself, but somehow even the virtual fireworks I had planned (along with the toast in imaginary champagne) got lost on the night in the unpredictable mix of events. I did happen to be on a bridge this last new year's eve, where haphazard self-launched rockets and lanterns were shooting out from all sides into the night in a chaotic spectacular. That would have been a lot of fun and I did think of re-enacting the moment, however it did prove a little tricky to get permission for, and somehow our extremely minimal budget didn't quite run to pyrotechnics. It's strange being in what was actually the second tier of this big international art festival - so with some funding but nothing like the extravagance of the five main commissioned works - where everything was pulled together on personal contacts, favours and goodwill. It's quite extraordinary in fact what you can make happen on less than a single airfare from Australia. Although yes I confess I would love the Artstar budget! So, back to the show and what really happened on the bridge that night.... Inevitably the technical set-up took much longer than expected - aiming for midday, we didn't start unpacking the gear until 2pm, and even with all the helping hands it was around 5:30 when sound-check took place. One of the pleasures and challenges in making site-specific single performance work is that you have to respond to the conditions on the day without knowing exactly what will be in store. Managing the locations of all the gear was the first step, after walking through the performance with Dav, Becky, James and Kris to give everyone an on-site overview. Starting with the gazebo and desk, moving through cables, speakers, stage, microphones, ramp, electricity, lights was a complex and lengthy process. I retired to the avenu cafe across the road, assisted by the gi & lowsalt volunteer to prepare ceremonial sashes for the lamp-posts and bridgelanders lapels. These proved very popular with visitors and helpers alike, some people demanding them as souvenirs. I was very conscious of making the sense of occasion evident throughout the space, and ordered the gold satin ribbon as it was the colour with least possible contentious reading - and wonderfully celebratory. When it arrived (being finally able to purchase from athena crafts online - after 2 days trying to track down through wholesalers and manufacturers) I was thrilled with the 'beautiful bright buttercup yellow', which being made in Thailand is quite possibly the Queen's favourite yellow-gold, and the exact same colour as the cables on the Mega Bridge in Bangkok. Kris and Becky had screenprinted our lovely bridgelady logo onto them - I was also very happy to be bringing Dolores back onto the bridge, as her statue had been removed for renovation only last week - and we did the final measurements for the ribbon-ties to keep them from drifting off the bridge in the wind. The river has its own microclimate - of which extremely windy and 3 degrees colder than the rest of town seem to be the main features. The bridge looked gorgeous and highly festive decorated in the gold sashes, and immediately suggested a sense of ceremony. I had designated the north side as the start, and insisted on having people brought across in small groups, with an 'initiation' into the space through the sound of the gong-like red metal suspension bars, which I struck as people crossed over the middle of the span. The provocation I had given the fabulous bridge guardians to Judd and Lou was to question people about something a little esoteric - a childhood dream, something they desired or inspired - as a way of entering the conceptual space of Bridgeland. Judd did a brilliant job in this, describing to me later how he asked people to imagine a memory when they were really happy - tears running down your cheeks laughing happy - or to project themselves a very short time into the future, where something they really love is waiting for them, and to feel the glow of that pleasure. He told me - 'I didn't let anyone cross until they had a cognitive moment', and he could see their eyes lit up with the memory or anticipation - one man taking ages and holding up his group of five or so, until finally he got it and was allowed across. This grew partly from our joking about the Monty Python 'bridge of death' sketch (the first three questions being: what is your name? what is your quest? what is your favourite colour) and was also a serious element in designing the interaction between the audience and the space as part of the performance. Anticipation! The ritual part of striking the bridge as a gong while people crossed also related to an experience I had in the Thai temple Doi Suthep, on top of a mountain just outside Chiang Mai. Here a cheeky young Buddhist monk who was conducting the blessing of visitors looked up at me sitting quietly to admire the Buddha statues, and flicked the water from his bowl across the heads of a group of tourists so that it reached me. The personal interaction and sense of joy it gave me still resonate, and inspired the gesture of welcoming people into bridgeland while they crossed the bridge. This was one of my favourite parts of the evening, it was lovely to see the large crowd of people who had turned up as they drifted by in small groups. Some laughed and chatted with me, looked around them at the view, or stopped to listen to the sound through of the structure through the megaphone I was using to amplify the contact mike (a very simple set-up that echoes the way I have made the bridge recordings for the past ten years), while others were a little bored or confused or just too cool to look interested. The other highlight for me was to see how people who were simply using the bridge in their daily life reacted to the event. I walked down to the arch under the pylon on the Southside, where Dave was plucking gorgeous melodic phrases out on his double bass as people walked through, and prepared to make my opening speech. At that moment, a local couple passing by walked into the space in front of the audience, where the diminutive and very glamorous girl proceeded to completely steal the show with her wonderful breezy patter 'Oh, for me? You're all here to see me... for one night only' she primped her hair and posed as though it was an talent show, making it a little hard for me to take to the stage with the ceremonial solemnity possibly required. I loved that moment though, wish I had invited her to declare the bridge open! This was planned for after the musical part of the evening, however by then people had drifted onto the bridge or off into the night, so in a future version I would definitely make all the important speeches and ceremonial rites at the start. That was the main disappointment for me in terms of the opening not really taking place - I had an invocation to the spirits of the bridge, the voice of the bridge, the trolls and the angels to join us, inspire us, protect and guide us - but with the last minute technical run, interruptions and no time to get zen beforehand, this kind of ceremonial voice wasn't there. Everything else was as smooth and successful as you can get in a large scale public environment with no time for a full run-through or technical rehearsal. The music was highly structures, with many meetings of the musicians and myself, although Guy and Dave's carefully prepared signals went unused as the setup meant that one could see only light and the other darkness.... I started by 'playing' on the cables of the bridge, to awaken the spirit and hear the voice - first with a broken umbrella that Guy had found on an earlier site visit, and then with our sign-master extraordinaire Nick's berimbau, which made a wonderful oversized bow. Dave started to join in on the double bass, and after I finished he took over the musical focus, with a composition of prepared and live samples being played and mixed by Guy. We had the piece developed in three parts, the first being the crossing of this bridge, then tuning into to many bridges and finally the 'opening' of Bridgeland - all through the sound. I attempted to create a human tesla coil in the audience by moving through the crowd joining people's hands, however this didn't really take. As the first drone part with micronations, bass and bridge faded into our minimal midsection, I then took to the radio - tuning into the stations on the fm dial as the voice of Dolores Ibárruri came through the static and rang out with her passionate declarations of freedom and democracy. Someone told me later this was his favourite part as he loves her statue so much and recognised the voice - or at least the Spanish - it turns out that she is one of only three statues of women in Glasgow. The others being Queen Victoria and the girl telling me forgets who the third one was. I liked the voice of La Pasionaria coming through the years and inhabiting the bridge which she looks over. Finally I tuned into the sounds from other bridges also coming through the radio, and that developed into the final section of psychedelic sonic insanity! I've been collecting experiences from people who were there, but that's enough for today - join me again for more later. ]]> http://www.singingbridges.net/diary/986.html Jodi Rose 2010-04-26T10:18+01:00 ...loading up the van setting off for Bridgeland! all the kids today are dressed up as their favourite tv or film heroes in aid of charity - wish I could get a fleet of them across the bridge did want to have fancy dress but it became more of a stress than fun so it's warm clothes and umbrellas all the way see you in Bridgeland xj http://www.singingbridges.net/diary/985.html Jodi Rose 2010-04-23T13:25+01:00 I wrote the opening ceremony speech for bridgeland while in the bath... a nice kind of synchronicity really, since the last time I performed live in Glasgow was from the bath in Slovakia, during Zoe Irvine's fabulous dial a diva project. Hearing people calling my name over the phone from the crowd in the cca was quite a bizarre experience, I still have no idea who was there! It's been an intense few days, those moments before a project is realised that suddenly flare up with anxiety and stress. A quiet evening at home with inspired euphoric speech writing is just what I need. The ceremonial sashes are being printed later tonight - very glad to have them, as somehow our leading light, the magnificent statue of la pasionaria has been taken away from her place by the bridge. I imagine her as the guardian of all who are trying to live by their own beliefs, to follow the voice of integrity and intuition - as she says, It's better to die on your feet than live on your knees. Someone died on the bridge recently, I don't know how or who, although presumably the obvious - by jumping into the Clyde. It's the one further along past Glasgow Green that is reportedly the site of more regular border conflicts. There's a shrine of two flower arrangements woven into the fence at the mid-point, and a handwritten note that's a little crumpled and washed out now by the rain. When we spoke to the first representative from the council about doing a work on the bridge, he talked about the concept of 'changing people's mental maps' of the city, which i liked, in this case through the lighting project that took place a while ago, and now hopefully through the designation of Bridgeland with our stunning opening ceremony. It was interesting being down there while hanging the sign, which attracted a good deal of interest and not too many people were upset at having to avoid walking underneath while we rigged it - 'for your safety'. I wasn't a customer service operator for three years at one.tel for nothing! Apparently the people at the hospice across the road are enjoying the sign there, and some have promised to join us at the opening, while others will watch through the window with a glass of sherry. I can only offer virtual champagne for our toast, don't want to be encouraging alcohol consumption in a public place - you'll have to come to Berlin for that! We had an amazingly smooth run making the sign, once the best way to get the letters into a template was sorted out - and over two nights the fabulous Will and Nick cut them using Glasgow's only scroll saw - borrowed and sourced for us by the genius technical director and font designer and all-round magical problem solver Dava! Then stepped into one of the most renowned public art fabrication studio's to finish hanging and bolting the letters in place. Finally got it onto the cherry picker platform with a minimum of fuss, and in an hour and a half it was there, looking exactly like the mock-up version on the flier. Strange how that happens - an artist's impression come to life! I'm thinking a lot about the idea of 'art in context' lately - more than 'public art', there is a wider field of operation. Art in the context of life, of geography, of community, of place or location, of the seasons, of materials, a political and economic context, the varied cultural connections and symbolic readings, metaphors and connotations... How you never really find yourself in the 'ideal' conditions for making art (or indeed for living life) - well maybe you do - but for me, there's always something. Something you need to manage, get through, figure out, sort out, get round, get under, get by... and that while everything is going twisted and topsy-turvy around you, somehow you still find the place of stillness and rest that you need to alchemise (is that a word? no says the spellcheck!) the base materials around you into something with a glimmer of golden inspiration. The process can be messy, things can get ugly, but you know that if you keep coming back to that essence, stripping away the inessentials and illusion, finding the absolute centre, cutting back to the bare minimum of superfluous and unnecessary trimming until you have the core manifest - well then it's all worth it in the end.... I'm sure! Come along tomorrow night if you happen to read this and be in Glasgow, or find us in documentation form and take part retrospectively. There is no separation between past present and future in Bridgeland, so whenever you are there you're always there! http://www.singingbridges.net/diary/984.html Jodi Rose 2010-04-22T21:56+01:00 sign-making today ceremonial gold sashes tried on for size the mysterious vanishing la pasionaria music and text still percolating lowsalt and jodi rose invite you to bridgeland friday 23rd april south portland st suspension bridge glasgow international festival of visual art http://www.singingbridges.net/diary/983.html Jodi Rose 2010-04-18T23:53+01:00 Post-futurity and Transmediale notes now online in my NEW BLOG! Yes, I've been invited by Public Art Scotland to write about the Bridgeland project, developing with Lowsalt for Glasgow International Festival of Visual Art. Inauguration ceremony in April. New composition created during a two-week trip from Berlin to Barcelona (via Amsterdam, Brussels and Paris) with the sound edited in various living rooms and the final drawing sketched at the kitchen bar of my friend's sumptuous Barcelona apartment. Listen out for 'Norse Bridge Apocalypse' on upcoming compilation Week 2 on Tiramizu (Nice) WEEK#2 est le deuxième numéro d'une revue qui montre des travaux d'artistes qui manipulent aussi bien le son que le dessin, la photographie, la peinture etc... with Charlemagne Palestine, Ramuntcho Matta, Paradise Now, Anne-Mie Van Kerckhoven, Jodi Rose, Barbara Breitenfellner, Vincent Epplay I'm also writing for Transcultures transblog, tales from the bleeding edge of interdisciplinary culture.... stay tuned for more! Public Art Scotland to write about the Bridgeland project, developing with Lowsalt for Glasgow International Festival of Visual Art. Inauguration ceremony in April. New composition created during a two-week trip from Berlin to Barcelona (via Amsterdam, Brussels and Paris) with the sound edited in various living rooms and the final drawing sketched at the kitchen bar of my friend's sumptuous Barcelona apartment. Listen out for 'Norse Bridge Apocalypse' on upcoming compilation Week 2 on Tiramizu (Nice) WEEK#2 est le deuxième numéro d'une revue qui montre des travaux d'artistes qui manipulent aussi bien le son que le dessin, la photographie, la peinture etc... with Charlemagne Palestine, Ramuntcho Matta, Paradise Now, Anne-Mie Van Kerckhoven, Jodi Rose, Barbara Breitenfellner, Vincent Epplay I'm also writing for Transcultures transblog, tales from the bleeding edge of interdisciplinary culture.... stay tuned for more!]]> http://www.singingbridges.net/diary/982.html Jodi Rose 2010-02-22T19:38+01:00 Wishing you a fabulous new year and many adventures... http://www.singingbridges.net/diary/981.html Jodi Rose 2010-01-01T21:52+01:00 coming up next.... UM: International Festival for Experimental Intermedia, Lisbon Portugal 12 - 15 Nov 2009 http://www.1um1.net Lowsalt on-site inauguration of BridgeLand at Glasgow International Festival of Visual Arts, UK April 2010 http://www.lowsalt.org.uk http://www.singingbridges.net/diary/980.html Jodi Rose 2009-10-27T14:49+01:00 Tonight at Intro in Situ, my first ever quadrophonic concert/installation in the middle of finishing the preparations - including 4 video pieces... Quadrophonic Bridge Concert Tues 27th Oct 20:30 Intro in Situ Maastricht http://introinsitu.nl you can hear a sneak preview on dutch radio, at 17:10 today: on Viertakt, Radio4 - also listen via internet www.radio4.nl http://www.singingbridges.net/diary/979.html Jodi Rose 2009-10-27T14:48+01:00 I know this page is shamefully out of date - apologies, I've been running around all over europe this summer making new work.... looking forward to the winter hibernating in berlin to make sense of it all!!! Last weeks - Sonorama Besancon creation/premiere Singing Doubs Bridges Installations on three bridges, all at once, totally insane and fabulous. http://www.sonorama-besancon.com http://www.singingbridges.net/diary/978.html Jodi Rose 2009-10-27T14:46+01:00 ...on a rooftop in Berlin at one in the morning... ended up with thirty people on olga's rooftop after golden disko ship concert at Ä bar, super-cool local hipster neuköln hang-out. beautiful show, lovely chatting with jas and all the sommercamp workshop crowd. something about all the empty space around us though made me feel intensely dizzy and nauseous. the roof was flat; about eight floors up, narrow; wet asphalt smell; someone had an accordion, the girl next to me was visiting from denmark to stay in an apartment her boyfriend's parent's just bought - maybe that increased my sense of vertigo. for someone who doesn't like heights I seem to spend a lot of time suspended mid-air in various dimensions. ah well: just a small update on life in berlin this week. not really doing this anymore; but a late-night chat in random moments can be fun. weaving together all kinds of new dimensions in bridgeland, from my own micronation to the global bridge party, just wait til you hear all about it... soon!!! http://www.singingbridges.net/diary/977.html Jodi Rose 2009-08-13T01:31+02:00