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X: How's everyone surviving?
Y: I'm making it through the semester 😅 my life opens up a bit after a conference next week.
Z: I am standing. Does that count?
Y: lol
X: It does!

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still from same workshop - recipe for Memaw's biscuits: by Joey Richards

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still from same workshop - recipe for Memaw's biscuits: by Joey Richards

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Memaw’s biscuits

Ingredients: Flour, salt, baking powder, sugar, butter, milk or nonmilk of your choice, longing

1. Miss your Memaw

2. Think about the ways she always saved a portion of uncooked biscuit for you and your brother.

3. Was that healthy? Should you be eating raw dough? Who cares? That is what love is.

4. Remember she called you “her heart.”

5. Give up on making biscuits just like her because she never taught you or her daughters, two of whom have passed away now and only your mom is left.

6. Mix two cups flour, one tablespoon baking powder, one teaspoon sugar and ¼ teaspoon salt together (add cheese or oregano or garlic if you feel like it, just remember Memaw never got fancy y’all).

7. Add ½ cup melted butter and 1 cup milk to dry ingredients and mix. Try to mix like Memaw would. Form that imperfect image in your head.

8. Make dough ball. Pull pieces of dough off and shape into biscuits. Marvel as you seem to be making the same movements that Memaw made. Maybe you did learn something after all.

9. Bake in a 450 degree Fahrenheit oven for 10 minutes. Then keep putting back in for three extra minutes until the bottoms are crispy, slightly on the edge of being burned.

10. Take out and either cool or just bite in and burn your tongue and remember the days of watching Paddington Bear and Mr. Rogers’ Neighborhood on PBS while your Memaw sat in the chair behind you and would make you a Stauffer’s French Bread pizza.

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from same workshop - recipe for accepting my body as it is: by Joey Richards

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from same workshop - recipe for accepting my body as it is: by Joey Richards

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Recipe for Accepting my body as it is

Ingredients: love, friends, listening, talking, stillness, movement, sensation, tastes, smiling

1. Wake up

2. Listen

3. Wait - say thank you (loudness as desired)

4. Move

5. Smile for one minute or until cheeks begin to soften

6. Listen

7. Pick up your phone. Have a conversation with a friend. Tell them you love them before hanging up.

8. Smile until cheeks feel numb.

9. Rest. Wait an inappropriate amount of time.

10. Listen and add a healthy amount of self-kindness.

11. Move or rest, it is up to you as long as you are listening.

12. If desired, hum a tune and feel the vibrations.

13. Lie back down for sleep time. Say thank you.

14. Say you’re welcome.

15. Repeat as needed.

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"Just trying to keep spirits up and bodies distanced. Thanks for checking in <3"

March 19, 2020

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Recipe from a workshop with Singaporean arts practitioner Chong Gua Khee, July 2022, co-organised by FAB for PSi's Hunger conference

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Recipe from a workshop with Singaporean arts practitioner Chong Gua Khee, July 2022, co-organised by FAB for PSi's Hunger conference

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Recipe for a PhD dissertation
by Corrie Tan

1. Map the dark room. The map is not a command, or a prescription. It is a reflection.

2. Feel for the light switch in the dark. You may trip, but that’s okay. This is your room, you know where things are.

3. The room is full of incredible things, they’re just hard to see all at once, and sometimes you don’t know how they fit together yet.

4. Allow your flashlight to linger, to take in the shapes and colours, to take in the shadows, how they fall. How things rest on one another. How they lean. How they connect.

5. Take your time with this. Discovering a new place is hard. Discovering an old place is sometimes even harder.

6. Sometimes there are things in the way, creaky boards, holes in the floor, boxes stacked up too high and too wide. It’s okay.

7. Sometimes people outside the room, peering in through a crack in the door, tell you how you should arrange things. Remind yourself that this is your room. It’s okay if you don’t know if you want some things yet, or if you want to throw other things out, or if you need more of another thing. It will come.

8. Sometimes you need to try out a layout before rearranging things.

9. Invite some friends over, people you trust to be good guests. They have candles and flashlights too. We can have a picnic together.

10. How can my room be a good host to my friends?

11. How can I be a good host to myself?

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From the Summer School 2020 website. Protected: A ‘live’ conversation

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From the Summer School 2020 website. Protected: A ‘live’ conversation

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GIF used to encourage summer school participants to sign up to the 'Telegram' messaging platform.

"We recommend that you form your own smaller groups. You can use Telegram to do so, where you can also share documents, arrange meetings and share work."

The Telegram group from 2021 is still active as of July 2022. People share job opportunities, upcoming performances and when they're visiting internationally.

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A follow up email:
"I have thought of you and your garden (and pandemic stay-at-home-practice) whenever I see sunflowers (like these, from the botanical garden in Kristiansand in Norway)"

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A second posting of sunflowers, same date, with the caption: "We talked about change, glacial change, gardens, and interruption."

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METHODOLOGIES OF ATTUNEMENT: FAB Summer School 4.33 post

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METHODOLOGIES OF ATTUNEMENT: FAB Summer School 4.33 post

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Date: Friday, August 27, 2021 Time: 2PM Bern / 10PM Melbourne / 5AM Los Angeles

Response to:

What method do you prioritise in your work in this very moment?

Posted anonymously

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If you would like to claim authorship of FAB material archived here, you are invited to do so. Much of the FAB material remains uncredited in the file sharing platforms we have access to and naming yourself (but not others, without their permission) will enable current FAB to acknowledge your work here and on other public-facing platforms.

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There's no way of knowing who wrote the document from within the FAB Google drive for those who weren't there when this was written, but the archive could provide us with the opportunity to rectify this. We will add an invitation to name yourself (but not others unless they give their permission) to items in the archive for citational purposes—so please do add your name, if you would like to.

However, the central focus of this project is not authorship, and in fact, these encounters with the documents as separated from their authors is part of what we are staging.

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Where is my name? If I know who wrote this, is it an anonymous post? Questions on the web and in the archive for future citation.

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Unpublished Writing from the FAB archives

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Unpublished Writing from the FAB archives

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"[Joey here - I’m just honestly throwing out some thoughts that come to mind based on our last discussion and what Alex has put in here. Please edit, delete, reject, accept, or alter beyond all recognition]

A piece of space junk “accidentally” crashes into the moon, an act of “cosmic littering.” Orbital debris. Most deliberate. This, however, unintentional. How can we have an unintentional intention? A refusal to add more cosmic refuse? To try our own detritus? In short, what are the threads we lost, dropped, or left woven? Rather than extending the orbit of our debris further and further through the continual production of the novel, this project invites us to look back at what we quit and rehome these offcuts by stitching them into a new patchwork.

For José Esteban Muñoz, the process of “cruising utopia” was never just forward facing, but always a queer(ed) horizon, the whole in the parts, the moments where queer potential is made and where it manifests (across times and geographies).  As Muñoz says, “I see the past and the potentiality imbued within an object, the ways it might represent a mode of being and feeling that was then not quite there but nonetheless an opening” (Cruising Utopia 9).

What if we go back to the not quite there, what we’ve already made that perhaps has not manifested?

So, we look to the then of what we started, what others started, projects left unfinished because they must never be finished, but wait, patiently and urgently to be (re)used. We refuse to make waste and, instead, make what we can of our waste. [end transmission]"

- From a document titled FAB 2022 public facing explainer draft (and invitation to participate)

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Abandoned collaborative writing: Submitted from 2020 FAB participant. Project arose from the 3.33 Summer School with a small group of the participants. (Last edit made 14/09/20)

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Abandoned collaborative writing: Submitted from 2020 FAB participant. Project arose from the 3.33 Summer School with a small group of the participants. (Last edit made 14/09/20)

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Sorry for my slow and many clumsiness.

I’m being very slow in the slowness.

I am slowly spreading.

To be honest, I am completely overwhelmed.

When the slowness is scared to us, our bodies can also be scared to slowness.

I feel time differences as people think each end of the pandemic.

trailing behind

As a white British academic

I am a white Australian academic

almost scholars are Japanese, and some white scholars.

I am a white Australian academic,

but my father is not.

This makes me hugely uncomfortable.

i worry constantly that this is then used as an excuse (consciously or unconsciously) to not support Black scholars, people of colour or those of the global indigenous diaspora

shy away from using them

having not done enough

I have been celebrated

Japanese Academic doesn’t achieve diverse “university”

because of language.

I want my decolonisation practices to be invisible

but I also want to be an outspoken anti-racist.

to work collectively as co-author,

to remain their thought and scholarship—if possible.

(an aside— there is a big discussion going on in the UK at the moment about the use of ‘indigenous’ in thinking about anti-racism and decolonisation such as the use of BIPoC as an acronym since indigenous is still used as a term misused here by white nationalists to assert the ‘right to the land’ of people who have ‘ancestral’ rights at the expense of migrants or those of migrant/diasporic heritage)

(an aside—there is a push in ‘Australia’ to capitalise ‘Indigenous’ when referring to both Aboriginal and Torres Strait Islander people(s), who are the First Peoples of the lands now called Australia, and also to refer specifically to either Aboriginal and Torres Strait Islander people(s) when appropriate, or to refer to the relevant clan groups when appropriate. As a result, there is—very slowly—a new map developing in my head that is based on language groups… it’s not at the specific level of clan groups, and it is still a ‘map’ which is arguably a colonial framework, but is exciting to see the possibilities for disrupting colonial markers and expanding my own experience of space)

I am so slow to think about your points

Neoliberalism attacks with violence and risk during coronavirus.

I am slowly spreading

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Image by 3.3333 Summer School participant sent to FAB to request entry into the event after being left waiting several minutes

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This image was posted to Telegram in preparation for a 2022 PSi board meeting that FAB attended. Caption read, “Sparkling water & coffee: check”

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Welcome to Traces, an interactive website in which you can add, alter, and arrange unfinished or unpublished materials from our shared Future Advisory Board (FAB) archive.

In response to the overwhelmingly imperative to return to pre-pandemic ‘productivity’, FAB has shifted our mode of practice in 2022 to embrace rest, reconnection, and recycling. Building on the digital gatherings we have facilitated over the last two years of the pandemic, this year we are forging a new gathering of FAB participants—through the slow, collaborative dredging of our co-created 'labour debris'.

We invite you to contribute with postings of documents, reflections, and junk from lost works, unpublished manifestos, fleeting memories, cancelled gatherings, and other objects of potentiality.

All future-imaginaries (past, present and joining FAB participants) are welcomed to participate.

The platform will be open from June 13 until December 31, 2022. After which point it will be locked from editing, visible to the public but transformed into a read-only digital artefact.

We look forward to the hidden histories, materials and secrets you might share and discover.

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“Apparently, Daegu is famous for its apples. And delicious flat dumplings.”

—From a document titled 2018 Summer School Proposal (Discussion)

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A post from week two of FAB's 2021 Summer School padlet: memory in the air

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A post from week two of FAB's 2021 Summer School padlet: memory in the air

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"a piece coming to north carolina in the u.s. south - will take place in a building that commemorates confederate soldier dead and white slaveowners and plantation owners. how do we address the space?"

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31 July 2020: Telegram message from FAB Summer School participant

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31 July 2020: Telegram message from FAB Summer School participant

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"Here's a video of my window for your slow and meditative viewing"

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"Who is/are the Future Advisory Board?
The Future Advisory Board, hereby referenced as the FAB, is a collective body of emerging performance studies artists, artist-scholars, and scholars. The FAB germinated from the problematic nature of having a singular graduate representative on the PSi Board. As an alternative model, FAB membership is plural, with each member serving a 3-year term on alternating cycles. The Future Advisory Board intentionally avoids fixed membership and vertical hierarchy. Instead, power and responsibility are distributed laterally and equally among all members. While we acknowledge the contributions of individual members of the board, it is important to recognize the fluidity and collective nature of this membership.”

—From a document titled Deep FAB

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Conditions of participation // Code of conduct

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Conditions of participation // Code of conduct

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This space does not tolerate expressions of ableism, racism, homophobia, sexism, transphobia, classicism, religious discrimination, prejudice based on asylum status, or other forms of bigotry.

By participating in this project we ask that you take responsibility for how your input impacts on others and for fostering a safe community environment.

Specifically, we ask that you:
—Seek permission before naming or implicating others in reflections or archive material that you post
—Seek permission to post any material you did not produce yourself (or that was co-produced with others)
—Do not post material of an explicit nature. For any material that might be sensitive, include a content warning in the heading and post a hyperlink to the material in the description.

You are welcome to post anonymously or to include your name as you prefer.

This space will be moderated and material or comments that go against these guidelines will be removed. If you would like to request something be removed, or have any concerns, please email psifuturists@gmail.com (subject line: "Traces - removal request/concern").