Freedom is not just a matter of degrees. It is about the constraints and also attempts to describe the negative space of the constraints. In this description resides the potential of the freedom. In the degree of the opening, the scope of the negative space of constraints is defined. Sometimes through narrow slits and gaps, passionate potentialities are demonstrated. Because how free we feel depends only partly on how free we are allowed to feel and depends in equal parts on the level of our own disinhibition. Disinhibition cannot be rendered as a condition of the external ecosystem. It has more to do with the actor’s persona and how she has framed and declared her persona. What is the pitch of the actor’s voice? What does it say? What kind of response becomes necessary? By configuring herself, the actor defines the dynamic of the field.

The dynamic of the field can be shaped by individual actors as the interpersonal is the truly emergent space that sets chain-reaction off. Zones of freedom are demonstrations of the potential of freedom. These zones are outbursts of the improvised self-configuration exercises of actors.

Actors can self-configure if they choose to. They can also be automatic mirrors to the flux that they witness. Starting to play the game is a consent.