potential for the sensory experience of touch, sensory awareness without physical data. anticipation, blind artist researching objects and touch, Kimberley will be helpful, material encounter and anticipation. heightened awareness, an altered state that we experience in an instance, you're heightened awareness as you go in. Newness. This lack of experience, uniqueness, primacy of touching, material encounter.
once it's happened it can't be experienced. is the work about the experience, are we creating an

disruption - normal and accepted anticipated interaction -
piece in the pods - could be a space that quite analogue, sensory experience

john cage - 4.33 piece, - stage setting exercise - unanticipated - exists differently at that moment

inviting the audience into the piece - the anticipation of the participation for the artist and the participant
predictability of putting art work out there
increasing the scale of the lack of control - sound, movement

Kira O’Reilly - body work and blood - invited people to cut the body 1-1 - the audience can refuse to participate
marina - distance, table, audience

when does potential become risk and the risk become too great, - how do fear and experience and the response go, is its step to far.

live arts festival in Scotland - annual -

where does the invitation come in to it, at what point does the artist connect with the viewer - does it still have a value,

how does the invitation -
selfishness - think of others - care - as women - make sure everyone else is okay - procrastination through cultural way of being - gendered bias, - cultural conditioning- 'our work' making it a toil and acceptable - develop a piece