After discussing earlier rehearsals and the shape of the forthcoming rehearsal we tried the following 

1. Cello - Playing with resonant and non resonant bow bounces. (A difference between cello and flute is the opportunity for continued resonance of cello strings after they have been struck or bowed). Thomas: thought of resonating strikes as = to distant space, not immediately close.

Stephen: experimented with popping on the flute 'Shuck shack' and the aim of having a resonant space.

Stephen approached with viscious lively argument - Thomas responded socially, but removed, looking out at the tree outside the window...

2. Stephen: mentioned Johnsons book on 'impro' and the blocking tactic which one actor can employ with another. The distancing of the performer into the tree did not feel like blocking in that sense.

Changed places, Stephen able to look out of window.

What right does someone have to demand interaction, to bring you out of the tree contemplation. (which is in the environment and is just there)

Began by suggesting finding something in the instrument that represents distance, and then linking that with the tree.

Spoke about intensity and distance, and the context of the romantic ideal of a beautiful shimmering hollow sound - why is that thought  of  as beautiful?

Internally controlled distance and space, (what?....) our listening is partly on the immediate instrument and partly on the sound it produces in further corners of the room.

On both cello and flute one ear is further from the instrument, its assymetric.

We thought about how to create the same 'tree' feeling in a performance space with no visible outside. Thought about having a video of a tree, but felt that was too much to do with the technology and too sentimental (but it might be worth trying anyway).  Stephen thought of using a video camera to bring in images of different parts of the room, showing performers engaged or unengaged, projected at in no special order.

This seems like an excellent idea, and works on the theme of distance that is currently unresolved - how to bring together ideas about the ambient improvisations and the social improvisations.

 Here is a picture of the tree in question