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		Stood either side of a railway track, we are tied once more with fishing line. One struggles to elevate other's arm over U-shaped distance. Station deserted, our line is tight in restrictive garotte. A heavy tug pulls line in up-stairs pivot, affording physical intervention over distance. We are visually and aurally in range, using tools to bridge physical gap with bridge. We are running line over line.
		Sitting in measured position either side of a sash window we filmed from daylight to dusk. Our camera held position indoors between the interior / exterior bodies, capturing in real time the natural light's demise. By deliberately leaving the room's light on, the shift in illuminated dominance from natural to artificial source swaps viewable reflection in gradual fade. Like osmosis, light density shifts out to in and with it takes reflection. A simple window acts as a shared canvas. One's reflection fades as other's looms into view over a backdrop of hiding / hidden sun. Holding still, we are merging face on face. Focusing in blur like durational 'magic eye', outsider stares at own reflection until night renders the artificial illumination of indoors the only focus. A gradual numbness and fidget, external hold steady is largely unaware of the exact point of light's departure with peripheral glance at surrounding wall and softening pigeon coo the only integer of measurable time. We are exploring natural shift.
		One sets off before other, navigating with combination of map and personal derive to position themselves alongside trainline with walkie talkie. With other's departure time set, a wristwatch signals the start of one's transmission, clamping button on and off in rapid succession for the train's approach, draw level and exit. Other, carriage housed, sets camera rolling to capture both the 'roger' beep of second handset and sneaky red in the field's flickered, finger snap presence. With exact location unknown, the transmission receipt on board acts as a hint for one's outdoor placement. The chunk of time in which the sound is heard becomes a period of shifting anticipation and remembrance. As soon as figure is passed, the fading beep is little more than the departure wave of a loved one's transport depart. The calm after relative storm retains a jittered anticipation; beeping repeat impossible yet desired. In outdoor situ, the electrical crackle of the rails accepting coming action works in 'roger' beep tandem: as one hears metallic fizzle, other receives carriage upsetting two-tone. Although the train as figure is a much larger target than the red jumper of the wilderness observer, the anticipatory frustration is present here in the tinted windows obscuring an already unknown seat. They are there, but they are as hidden as one's sub-second blurring cameo.
		With helium balloons we positioned ourselves a distance apart, each holding string of equal length which held our rising balloons central and level. Gradually approaching one another, we anticipated that the balloons, afforded an extended leash, would rise upwards whilst remaining central in our frame. In practice, a combination of wind and under powered birthday gas meant that while the balloons movement increased, their course was erratic. Although producing a result different to that anticipated, the movement was able to make proof our concept. Perhaps better highlighted in calm, our limply powered zephyr still acted as a visual aid in demonstrating a nearing link and bridged gap, something physically reversed in our separate kite strings tension shift from taut to slack.
		Returning to Torpoint during a full three ferry service, we proposed a performance. One would board the first boat arrived, other would board the second. From this point, each must board ensuing boat as and when it is available. Natural demand would tug the boats' positions rubatto meaning that in time we would be forced to board the same boat, and thus performance would end. After a concerted effort, one of the service operators informed us that the boat frequency was set by schedule rather than demand. At any one time, there will be a boat filled, a boat filling, and a boat crossing. Our synchronisation was impossible and thus the performance was ended.
		We located a small canal of sea water uninfluenced by tide. Placing camera equidistant between us, we dropped weights from equal heights to produce ripples that would intersect at camera eye. Almost unique to liquid form, the rippled impact merges rather than collides in stop. This is a sharing central point. We are contributing equally to the centre splice whilst maintaining solo form - soaking into one another in a shimmering arc; slowing, traversing and building upon yet continuing our own forward motion.
		We marked chalk indents equidistantly (each gap measured to comprise height of C plus height of H) in a loop of Beaumont Park. Each carrying a walkie talkie, walking in opposite loops and linked by channel to a receiver in-house, we transmitted a now ubiquitous 'roger' beep at each chalk mark. The audio that was created by our clockwise / anti-clockwise traverse became a composition whereby the chalk marks were our score. With obstacles and natural human deviances in walking path and leg-length speed affecting the rate of transmission in both separate palms, the soundtrack's occasional unity, merging despite distance, creates coincidental surprise in its mingled light-ups. Wavering like marathon runners on long corners and forced by pushchair inside straights meant aleatoricism despite chalked mission. Our criss-cross at the apex of our walk was met not with excitement, but dogged walkway concentration - audio remaining that of attempted conformity rather than the quickened steps of anticipation, crossover and comedown. -- We are exploring pace, boundaries and crossovers. Marked on our map are our start/end points.
		We filmed from 04.00 20/05/10. C held camera in clutched tiredness whilst H stood as subject for slow light. A sunning up until the figure is clear to screen. A slow forming, coming into view. This is a non-action for camera, dualled with performance held between two. One is none but standing and other is eye flicker between screen held and eyes allowing figure formed in shine. Start with pitch and unseeing hand held up to eye, no laptop blinking or power cable pulse and dog's tapetum lucidum locked out. A difference between light relay of eye and lens presents a duelling process - a live ocular realisation implied in the hardware's inability to capture a humanly recorded action. There is window framed performativity in this making, but onus is held in outcome; video played back and retaining the implied presence of two. Fan whir mars silence but acknowledges this is still on as video remains playing. The shifts, creaks and coughs and swaying proves a held presence in the black; a tie to keep viewer knowing. There remains something there; anticipate this coming into range of sight. A black screen is soon eroded by capture. -- We are exploring natural boundaries, fades and transitions.
		Between the hours of 00.00 14/05/10 and 00.00 17/05/10 we will cease both physical and visual contact. We remain in our house, split by closed doors as dog whimpers with herding instinct. We will communicate by radiowave, microwave and internet to correlate trips to the bathroom, fridge and beyond. We are enforcing barriers of communication. After 72 hours we witnessed a definite tail in communication, half as an effort to keep the set volume 'roger' beep to a minimum, and half in an acceptance of this strangely increasing mental distance. We attempted to log rough topics of buzzed conversation, but some 30 hours in, output wavered dangerously between show tune farce, deliberate rousing disturbance and the banal, meaning that a list of content became impossible to manage. Toilet run and tumbler fill seemed to drop in frequency as we sat in discomfort in our separate dens of detritus, and yet in relative comfort and carefree existence there was unrest. In living room, each activity was met with unease at the prospect of the omni-human presence breathing silently next door, entertainment restricted to half episodes and skipped tracks. In bed room, sleepy head cracked internal clock, drifting deliriously between audiovisual distraction and texto-communicative outreach. We survived, predictably, but having experienced varying degrees of loss, replacement, relief and anxiousness.
		String wrapped around wrist and teased over thumb, we walk gently backwards to gradually extend our still linked distance. Even at great length, fine cotton can, when taught and tugged, manoeuvre a partner's arm like a signal kite. Fishing line wound round corner, one is kite holder of a thumb-made-kite. A physical link from hand to hand; connection cornered and touching still. So often sound is jumping, crossing spaces that a simple shout out would lose - but touch is mostly limited to limbs length. Yet here, out of sight one is moving the other, a delayed tug at instruction to pull and string goes taught with thumb pulled up from reclined.
		We are considering performance over distance, anticipation and frustration in conjunction. We are experimenting with Walkie-Talkies and string, exploring both audio and affected visual range. Utilising the Torpoint ferry, we split, cross county. Standing separate in Cornwall and Devon, we located each other visually using a now standard wave. Our Walkie-Talkies remained active as we explored ranged potential for radio communication over great distance and dividing lines. We are considering splits and the space in between. Marked on our map are our individual cross county stations.
		MAKING PAIR A collaborative making, writing, collecting, doing. makingpair@googlemail.com