I think the difficulty in what we are doing comes from the fact that not only rhythm and meaning, but more importantly form and structure can in no way be layed down before the showing. I guess that's why you experimwnt with these ideas and have a showing. Not knowing if it will work. But of coarse, you try and make it work. I think one of the narrative suggestions for you Sivan would be to link your character, how ever subtly, to the others. That way the program from which the audience chooses the stories can be linked like a rhyzome/network and the audience have ot work to make the connections between the characters.

I also think Alex's point about giving voice to the voiceless somes it all up. These stroies have never been told, struggle to come out etc. All the pieces which go with this work well.

Also, the fact that some transmissions come from the screen, others through sound etc. highlights the virtual nature of Senseless. Characters who have made up conversations with others, who loose transmission part way through etc.

For the audience this means working to piece the puzzle together, to get an true idea of this distopic future and to contemplate about where we are heading. There are plenty of moments of contemplation which come when the perfomer is still and listens to the sounc etc.

And then there's Mitnick - someone who wants to 'let go of control' but is so controlled in doing so, someone who wants to 'hand over control' but needs to be controlled by others to do so etc. She is the central point - constantly channeling ad asking the audience to help her do this. Giving them control.

I hope that helps - but either way you've given me things to think of - so thanks : )