The left video has a soundtrack, and the right video is silent


I HEAR WITH MY EYES
PREMIERED JANUARY 27, 28 2011
at the
Slovene National Theater, Maribor,
Slovenia

A finger touches my skin and it makes a deep line.
The line oozes like blood ... Slowly ... Wherever it can go -
Like yards and miles of moving stones, and fast galloping horses, in solitude of one hundred years ...
Shakespeare's truths penetrate everyone, every day.
Sound exists in a labyrinth of winding roads, it walks to the top of the stairs ... Forget it.
Why should it matter? Because of me, or because of them, who don't get your head turning? I
want to go, and fall, and wake up again? (MMW)

I HEAR WITH MY EYES: There is no story with a clear beginning, middle and end.
This story is told in images, the way the deaf see things, artistically said by me: A
Fragmented Mosaic of Impressions. This can either become alive in the imagination of a
viewer, or die with the day. This is not about helping the deaf: this is about us, the
hearing; in many ways, I would like to evoke empathy in the hearing population, and the
awareness that the deaf are a part of the universe, not just "silent observers."
(MMW)
Author: Maya Milenovic Workman
Dedication
The experiment is dedicated to people who from birth, or soon after, develop differently from (the rest) of us
(who can hear, see, feel, debate, love in a "normal" way.) It is dedicated to a woman, mother, friend
who did everything for her dear deaf son to become a part of hearing society.

The research questions: "Are the minds and behavior of deaf people different from thodse of hearing
people?" A deaf person thinks in signs rather than words. This constitutes a mental process that is
radically different from the norm (of hearing.) It is not within the scope of this "final" to delve into the
many ramifications of "picture thinking." Suffice it to say that this is one example of how the minds of deaf
people are different from the minds of hearing people. This is not to say that the brains of deaf
people are different from hearing people. (Bellugi 1988)

Why I Hear With My Eyes?
This is a multimedia event in which:
A film, robot, dancer and active spectator form some kind of unity, that tries to answer the question of what
it means to be a deaf person nowadays in Slovenia and the world in emotional and existential ways. Is it
possible for a deaf person to become part of hearing productive society? What kind of part? Why does
deafness become an obstacle to creativity, imagination and higher education? Is there a need for radical
change? Is co-existing of hearing and the deaf acceptable? Maya Milenovic Workman believes the there is
a vast disconnect between the hearing and the deaf. She dealt with sound and the lack of it all of her life due to
her personal connection with the deaf. A few years ago someone insisted that "The deaf and blind people are
society's excess." This made her expand creative directions of her work beyond telling the stage story. She
started working with people with special needs in classrooms. Approaching and drifting from and to
choreography, directing, writing and music is her lifelong challenge. In MOVING THEATER, which uses
pictures and not works, a complex emotional experience becomes something that words, sounds, rhythms
or spectacular art cannot achieve. In the event I HEAR WITH MY EYES the dancer and the moving object - robot
"draw" the sound in pictures (Not a story.) With an experimental film they form a three dimensional
event.

The Process
The process is made of two twenty minute sets. The first time the event happens without sound, the second time
with sound. Before entering the audience gets ear plugs. After part one we ask you to fill out the questionnaire and
hand it to the producers. In the second part you will follow the same events, this time with sound. By completing the
questionnaire the spectator becomes an active part of the event. The questionnaire is to be posted on the
Internet, on FaceBook, in media and delivered for research. This process is part of a mission that Maya began
years ago in search of creative possibilities of movement in space, search of a quality of movement, creative
stories and relationships among creative interpreters. In I HEAR WITH MY EYES Maya openly aanswers the
question that is to her the purpose of art and stresses that her choreography presents to her only a single
means of expression, but not all.


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Creative Team

Author, Director, Choreographer, Film: Maya Milenovic Workman

Movement: Ling Mu

Robotics: Stefan Dopner

Live Music: Igor Bezget

Music: Lenart Krecic


Maya Milenovic Workman:
"In between now and then is a river" www.mayamilenovicworkman.com

A choreographer-director, writer and media artist, Maya has "worked" between Slovenia and USA since 1980.
She is an artistic director of Montclair Academy of Dance and Laboratory of Music (www.mad-lom-nsn.org).
By analyzing Howard Gardner's theories of cognition and adding Leonardo da Vinci's quote: "It should not
be hard to look into the stains on walls, or ashes of a fire, or clouds, or mud or like places in which ... you
may find marvelous ideas ...
" Maya came close to her own understanding of creative education for all ages
and needs. Between 1980 and 2010, she choreographed Jocasta, Clytemnestra, Moon Above Mississippi,
Tristan and Isolde, M&M, Night Bird, The Lost Ones,
and Noah's Arc, collaborated with Tomas Pandur in
Scheherezade, Hamlet, and Faust; she directed her own dance company and established an on-going
journey of creative sounds and moves with Reggie Workman and many other musicians. The process of
creating her first public multimedia "exhibit" I Hear With My Eyes, is to answer a question: "Is there a
psychology of deafness?" Her future work Guernica 2012 is her own take on projection and the psychological
blindness of humanity. In her Maya Movement Energy she communicates the lasting change through
gradual physical and mental transformation.

Ling Mu (Gregor Kamnikar):
Ling Mu is a researcher of physical intelligence (plazma.ops.si). Within the field of
contemporary dance he continues to be an active dancer, performer, choreographer, teacher, lecturer and
writer. His creative work spins around a project that explores usage of game in art - Commoveo
(commoveo.ops.si). In 2009 he cofounded a coolective Federicija (www.federicija.net) which at the
present moment represents his professional domicile. Since 2008, he has been a clowndoctor at Red Noses
(www.rednoses.eu). Ocassionally he is a radio host. He speaks seven languages. He enjoys food. He will
conclude his artistic work on April 25th, 2011.

Igor Bezget:
For several years guitarist Bezget has worked successfully on the Slovene scene of improvised music, jazz and
ethno music. At the Bruckner Conservatory in Linz (Austria) Department of Jazz he studied guitar with Professor Peter
Omara. At present he is studying Indian music with Pt. Biswait Roy Chouduryu and Pt. Suresh Talwalkarju.
He had recorded over 40 projects of his own music and has had an opportunity to collaborate with acclaimed
musicians such as Lester Bowie, Reggie Workman, Pt. Suresh Talwalkar, Gyan Singh, Sharat Srivastava,
Prashant Triwedi, Billy Harper, Slatko Kavčič, Dejan Pečenko, Zoran Predin and many others.

Stefan Doepner:
Robotics artist Stefan Doepner studied painting and experimental film in Bremen (Germany). He works in Europe and
all over the world. For many years he has been creating sound and video installations and robot workshops. He
co-founded many European institutes of technology. His participation in the project I Hear With My Eyes is of great
significance - the opposite of human movement is the movement of a robot. They both react to the sound in the film.
Once the sound is eliminated and the person and the robot continue to move, the audience responds both
psychologically and physically.

Lenart Krecic:
Lenart, a saxophonist, pianist and physicist, holds an MA of Music from New York University and a BA from
contemporary music studies at the New School University. He produced The Chain of Sounds, featuring Kenny Davis
on electric bass, Marcus Gilmore and Adam Jackson on drums, and John Beaty on alto saxophone. He is researching
the sound of the saxophone, studies physics at the City University of New York and collaborates with Frances Mbape
of the African American Legacy Project, and Matthew Garrison.


Production Team
Production:
Coproduction:
Financial Support:
Executive Producer:
Photography:
Advisors:
Play Bill:
FaceBook:
Web page:

TWO, Maya Milenovic Workman
SNG Maribor
Ministry of Culture of The Republic of Slovenia
Alek Truppel, Mateja Kožuh
Janez Klenovšek
Andjela Trkulja, Lidja Koren
Maya Milenovic Workman
Alek Truppel
Daniel Bull

Thanks to
Radovan Milenović, Ministrstvo za Kulturo Republike Slovenije, Teo Pajnik, Gregor Kamnikar, Stefan Doepner,
Igor Bezget, Lenart Krečič, Daniel Bull, Danilo Rošker, Mateja Kožuh, Lidja Koren, Alek Truppel, Reggie Workman,
Barbara Novak, Andjela Trkulja, Nevenka Pašek, Katja Lovše, Klub gluhih Maribor, Federacija Ljubljana,
Peter Tomaž Dobrila, Montclair Academy of Dance and Laboratory of Music, Kenneth Tharp, Jennifer Hanawald,
Cathy Jackson, Jon Rosenhein, Grace Chow Grund, Eve Robinson, Farooq Chaudhry, and Ayana Workman.

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