While these phenomena are not reducible to one another, their coinciding has generated scenes of singular power, in part arising from the seemingly oppositional nature of the imagery produced: socially-distanced protest;masked oratory;cries to be let freely breathe swallowed by clouds of tear gas and pepper spray In ‘Towards a Collaborative Ergonomics: From Strangers to Symbiotic Community through Boundary Traversal in Performance’, Liang proposes the idea of ‘collaborative ergonomics’ as a way to account for the design features developed to support the cultural interactions that comprised her project ‘Inspiration’ and ‘expiration’ are the words Beckett uses to describe the breathing process, terms that capture the connection between inhalation and creativity, exhalation and death 3 ‘For the actor to conspire,’ Zarrilli tells us, ‘he must in-spire…and…ex-pire…suspended between the in-spiration and ex-piration the actor finds her way to the “edge of the breath” where thought and action hang in the balance ’4 Creative production, we might say, hangs in the balance of exchanging breath

中文翻译：

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社论：呼吸之间

虽然这些现象不能相互还原，但它们的重合产生了奇异力量的场景，部分源于所产生图像的看似对立的性质：与社会保持距离的抗议；蒙面的演讲；被云吞没的呼喊让自由呼吸催泪瓦斯和胡椒喷雾在“走向协作人体工程学：从陌生人到共生社区通过性能边界遍历”中，梁提出了“协作人体工程学”的想法，作为解释为支持文化互动而开发的设计特征的一种方式，包括她的项目“灵感”和“期满”是贝克特用来描述呼吸过程的词，这些词捕捉了吸入与创造力、呼气与死亡之间的联系 3 “为了演员密谋，”扎里利告诉我们，'他必须激发......和......前驱......暂停在灵感和离去之间，演员找到了通往“呼吸边缘”的方式，在那里思想和行动悬而未决'4 创意制作，我们可以说，悬在呼吸的天平上