Welcome and thank you for visiting the site dedicated to the performance project called inging by Jeanine Durning.

This site is currently in progress.

In the meanwhile here is some reading on inging:

Attempting defining inging

inging refers to grammatical aspects in language which point to the present progressive tense, or continuous present. The continuous and progressive aspects in language are used to express actions that have begun but have not yet finished, that which are still in progress.

The action of inging is languaging, a practice of non-stop speaking and being in the continuous present. Thought becomes action in and of itself, at the intersection of body and language. The mouth mobilizes thought in the transition where language exits the body. The circuitry of the mind moves through mouth, lips, tongue and liquids. The practice of inging moves forward, toward the edges of intelligibility and comprehension where thought itself persists and insists. Gesture emerges as the inevitable bridge between thought and language, where speech stammers and stutters. Silence emerges as the inevitable puncture to the exigencies of the continuous present. Moving thought through speech and speechifying thought through movement brings speaker and listener, “performer” and “audience” at the threshold of communication and relation. To speak is made possible through listening; to listen is made possible through speaking.

The audience enters a room. In the room is situated a table, with books on top, notebooks, computer and small camera which records the performer, seated at the table, non-stop speaking without script, following only one directive: moving the continuing present thought articulated through speaking. Behind the table, on the wall, are projections from the computer of past practices of inging. The inside thought made external as image of multiple selves, in multiple places. Simultaneously here, now, and there, then. Both, inside and outside. Past and present. Present and future. Memory and imagination. Body and Voice. Every performance simultaneously produces, accumulates and archives information for a future use that is unknown. There are empty chairs at the table and scattered about the room. The audience chooses whether or not to sit at the table and where to be … or not …


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