Stressed out by the first two weeks of term I'm reading Small Acts of Repair: Performance, Ecology and Goat Island on the Central line - an oasis of calm and decency in the headlong rush. It's an assemblage of short essays and reflections partly authored by members of Goat Island and partly by others others responding to them. Come across this:

There is, Virilio suggests, a 'grey ecology' at work here, as opposed to a green one; grey because, when colours spin past us at speed, they all blur into that one (non-) colour. (p.93)

And further on:

How then, to retrieve and repair time from this terminal acceleration? Another impossible cause, perhaps, but one which Goat Island pursue nonetheless, by insisting on what Virilio calls 'life-size presence' (rather than the shrunken sped-up presence of the small screen), and by obstinately exposing the awkward progression of time itself (Hughes, David 1996. 'Dying Memories.' Dance Theatre Journal 13.1 (Summer), pp 32-33.

I practically jump out of my seat. Or might have done - if I'd had a seat - and hadn't been crammed into the tube with a thousand other hurrying citizens. There's a lot more here in this article which it would take too long to write down. But this is exactly how I'm thinking about live work at the moment. How to slow time down? Not that I feel such a strong objection to the sped-up presence of the small screen. It's just that it leaves a great space of slowed-down time to explore and mine in live performance.