How could the practice of allowing other/others experience to overlap be develop?
Who can we make thoughts spill?
How can we make memories spill?
Is the sharing of memories lead to new memories/ event/ experience of the past memories?
1- pattern of data (materials, text, movements, sounds...) created by event to create more events
2- map thinking about other things
3 -- Over -layering sensations/ perception ( Deborah Hay method)
4 - the interest of geographic/ cultural / differences
5 - How do we overlap internal time for the performer? (how do we use body/ brain memory in performance)?
The inhuman performer: What is it that is not you but that is not someone else?
Performer imagination - transformation / Viewer imagination - transformation
Arriving - becoming present-
Moving out of the head, to a landscape of feeling, memory, impulse and dream ....
''reading Deleuze as a dream book - as a challenge of the notion of grasping'' Susan
4''33 Cage - focus out
Small dance Paxton - focus in
Blind walk - out
Pairing with percentage - giving / supporting - 80/50/20
Embodied reading - Forti Newspapper
Memory Gestures improvisation: Directed gestures/actions using images - not through imagination but through being (feeling versus thinking) Here connection with being and the deleuzian notion of actualisation - virtual technology.
Butho Fu Improvisation:
1 sensory information
Butho fu *1
Endless dark corridor,
Sunlight coming through each lonely rooms
Steps echoing from an old time, don't leave any traces in the creaking planks
Turn left, right, get lost in the corner,
In the fire brace, she is waiting for our eyes to find her nails padding the featherless peacock
Through the hole in the wall the helicopter dance with the eagles
follow invisible threads
jump back into a picture
dance 3 min like your father
carry forward and let go
think about something boring and make it interesting
Sensation composition from improvisation - A score-
Remembering traces of gestures
As soon as you find variation, you change the sensation
Alter the intensity of the sensation
Come back to neutral
Remember the sensation, feel it but don't do
Apply the sensation to of the gesture to another gesture ( the next one)
Go back to the other gesture
Transform and merge the other 2 gestures
Use the other gestures to break form the pattern of repetition
Reflection and comments
We can't quantify sensation, they are only quality
Going back to 5 gestures
going back to butho fu
doing a durational improvisation - something we witness evolving for 30 min
partnering sensation - impulse (eye contact -duo)
Reflection and comment
Active viewing= action
Observing what are the threshold when the observer start to interrupt/interfere with the action going on
To officially start the game someone calls out loud, ZERO. The players can be anywhere they like in the space. Moving is optional.
After a time (or very quickly) someone calls out loud, ONE. At this call each player must to look to another player and you must never loose sight of the person you have chosen to look at. You need to see this person the whole time but it can also be just a part the body that you see. There is no need to exchange gazes or that the same two people must look at each other. (But this is possible). Moving is necessary only to allow you to keep seeing this person.
After a time (or very quickly) someone calls out loud, TWO. At this call each player keeps seeing the first person they have chosen and adds another. Again you only need to see part of the body of the people you have chosen and there is no need to exchange gazes. But you must be able to see the two people you have chosen at the same time - all the time. To look at one person and then the other is not correct. You must never loose sight of the people you have chosen to look at. You may have to move to keep seeing these two people.
Station debout sur la frange entre terre et mer
Devant, deployé à perte de vue, l'horizon
par -dessous, un grouillement de poissons
Qui depuis les fonds fixent des yeux la surface des eaux
leurs innonbrables coeurs font du tapage,
tantot a l'unisson, en un immense battement, tantot en ordre disperse
et sans fin cela recommence,
Jusqu'a ce qu'une espece entiere emerge
et grimpe sur le continent
se mette a respirer, a deployer des mains et des jambes,
a marcher a se redresser,
Images remanentes qui se superposent
les unes aux autres,
pour s'unir tout a la fin, la, derniere soi.
Devant soi, derriere soi.
Quelqu'un regarde dans son dos celui qui
regarde la mer. Ouis quelqu'un d'autre regarde ce quelqu'un dans son
L'impression de se tenir en un point
d'un cercle immense.
On croit pouvoir boucler la boucle en
s'avancant, resolument, vers la mer.
Une ombre tremble sous la paupieres.
Les yeux s'ouvrent lentement.
Partout devant, le vaste ciel bleu.
Je m'etais evanoui.
A la pointe du cap, le phare, une large
plage de sable, la cloche du toscin.
Le soleil brille, d'une lumiere violente.
Reverie a l'instant de la chute.
Tenebres au coeur de mon reve.
La nausée vient.
au reste la soiree avait ete chaude, impo-
ssible de dormir, yeux ecarquilles
face aux tenebres, comme si j'avais pose
une question horrible.
Cet essai étant désormais disponible en livre et sur internet en plusieurs langues, la métaphore de l'opposition cathédrale/bazar peut se retrouver désormais dans des champs éloignés des logiciels, par exemple en musique7 et se rapproche d'une dichotomie entre une approche excessivement organisée et inflexible (cathédrale) et une approche apparemment désorganisée et hautement flexible (bazar)
This Post is a reflection on the notion of embodied research.
It is in dialogue with follow PhD student Rebecca Woodfords-Smith.
07/04/11:Practice session 1: Embodied memory
Discussion on different kind of memories ( Thought memory/ felt memory)
Practice session based on collaborative practice of improvisation.
Warm-up: emptying mind - attention exercises : Cages ' 4'33
Negotiation- making observing
Automatic memory : Chance, Newspaper
2. Kinesthetic observation ( In paris)
responding to partner's movement (at 80%, 50%, 20%) then adding space
3. Kinesthetic Feedback - Physical
18th of May Session 2
Self and other bodies in the space : connections / breaks / extension between each other / boundaries
Perception: having a sense of each others' timing.
Difference between the terms Time and Timing in dance
Timing: quantifiable, phrasing, compositional components
Time: quality, duration (Bergson), presence - control
The presence of the performer negotiate the ownership of the time with the audience members.
Through memory connecting with the continuity of our duration (the real time for Bergson)
Time is memory is duration is quality.
Kinesthetic time is the pure experience of time (heidegger) - authenticity.
Fascination with time to know our own duration. it is only possible through the use of memory.
Duration is a process of imagination.
15th of June Session 3
How is embodied memory conveyed to audience members : process/product?
The relationship between memory felt and memory thought?
The unknown potential of the body.
Practical work on sensation:
Improvisational movement (mover/observer)
Difficulty to name a sensation - tendency to go to the emotion. May be need to record images instead?
difficulty to stay with the physicality of the movement.example of sensations:lightness/opening/breath/lift/suspension/hot
29th of June Session 4
How to word sensation? It seems too difficult to put a word on sensation. I felt that sensation were more a process than a product that I could name.
How can we account for that sensation?
Are there different levels of sensation: A primal - basic survival - and one that build-up from that primal?
26th of July
Influenced by one of my reading
Referring to sensations as 'a kind of felt thought.
Yet any ‘language’ of ‘co-speaking’, of giving voice, to emerge from the propositions of the
Vocabulaoratories must also encounter sensation: non-representational, a-syntactic, nonlinear
movements of thought. This kind of felt thought, charged by the chaotic force(s) of the
unthought, can be called a diagrammatic process.
15th of August
Working form the movement we think we are do -
Working as a feedback loop of the movement we imagine the other do -
Ex from MIranda Tufnell book: ''Widening the Field''
1- Imagine yourself dancing for one minute - eyes closed
The image kept changing/ the context kept changing - on the beach, in the studio with my daughter
2 - Same thing but with the hands clasp
Shift of point of observation/ much more connected with the image of myself, with the sensation -
something about touching my hands.
The more we want to connect, the more we need to expand ...
Initial Research Questions relating to Collaboration in Choreographic practices:
1. Considering the complex nexus of institutional criteria and evaluative mechanisms that are in place, what are the parameters which define the ethos of collaborating artists?
2. How as artists do we make sense of each other?
3. How, while using an economy of production based on senses and affects, can we claim to participate in or contribute to the knowledge economy?
4. Following from the above, can contemporary artists offer viable models for experimentation or resistance (to dominant codes and values?
This post is an on going and accumulative list of questions informed by my research. Those questions are sometime owned by other people and are listed as an empirical fit to my research. The use of italic represent my own voice and the coloured font are to identified a long term dialogue
What happen when there is no narrative, no psychology?... Concepts? Do concepts eschew any psychology or narrative? What is the difference between practice and creative process?
Habitus: Learning of possible rhythm of being - patters - How does it inform our taste in art? (Susan Melrose)
This post could also be called 'Stolen Frames'
It is an ongoing and accumulative list of frames that I come across during my research.
Here, I am recognising the use of stealing as a strategy to practice a 'creative research and assembly' (Brian Saner - 1996:71-74 in Small Acts of Repairs, p.60)
I have identified my own voice in italics.
What is coming in to body - how the body impact on the outside in a constant inter-change Accumulation from letting go Rocking out of it from the periphery back into the centre - 'Widening the field' Oregami- Complexity of forms - details of the quality and association Writing from the movement of the breath ( feeling it in the body) Miranda Tufnell ( Workshop SD 07/04/11)
Signifying is coding Communication is about decoding a language
Remembering / Thinking
This big storm in India,
While I was walking up the mountain with myself
A lot of water falling down in a very short time
And then this little hut with the old man
Having found shelter
Smoking a perfumed cigarette
And then sharing a hot tea
Smiling a lot
Looking out at the valley in front
Looking at the dogs playing in poodles
Wanting to record that moment
A moment of beauty, peace encounter
The warm tea, the burning cigarette and the flood of the rain
Waiting for the next breath
The next impulse to guide us
To find a new ALWAYS new orientation
Listening to an orientation
Other movements from closed eyes
Witnessing a witness witnessing
Intensity and moment of rest
Three dimensional sound
What comes out more?
What to choose?
A tree, a bee, a church bell ringing in the scattered air
Remembering / Feeling
Swaying to find the tunning
To the image
To the moment
Looking actively within
out for that moment
With the out comes the move
Impulse of the arm
The weight going down
Ah the image of the old man appears
somewhere inside of my body
My bones feel heavier
Taking in again
Waiting for the cusp of the breath
That moment just before
The breath exhale
Again travel out
That moment is the moment
What shape has my body when that moment comes?
Sensation are harder to imagine
To render physically
To bring movement to sensation
Fro Radio 4 on Monday morning while Zella is having her breakfast and I then change her nappy!
''The popular uprisings in the Middle East and the bloodshed following elections in Ivory Coast have thrust democracy once again into the spotlight. But while the optimists point to its inexorable spread, the pessimists fear that democracy has shown itself unsuited to dealing with the major challenges facing the world today. David Runciman turns to the intellectual history of democracy to make sense of what’s happening. From Nietzsche’s dismissal of democracy's short-term inherent weaknesses to Tocqueville’s view that its very success is part of the problem, he seeks an answer to ‘Can Democracy Cope?’''
David Runciman is giving the inaugural Princeton in Europe Lecture, ‘Can Democracy Cope?’, on Wednesday 13 April at Goodenough College in London.
A day with Miranda Tufnell - Shiobhan Davies Studio.
Miranda Tuffnell took us through the very poetically evocative journey of the embryonic life (embryology), the development of the beginning of life. She is drawing on scientific ideas about the cosmos and relates cosmic forces shaping life. The same forces that have shaped the cosmos, shaped the human being (apparent forces)
Looking at a picture of planet earth you can observe how much water is present in the overall construction of the earth and that is what permit life: Movement and water - constitute planets ; Could decay be measure by decrease of movement and water elements in someone/thing life.
The necessity to connect to those original forces to orient ourself, to reflect on what is coming in the body and how the internal body impact on the outside.- a constant inter change - va et vient
Triggering questions about the coming into being.
How do we organise ourself
Inquiry into movement across land and territory
Inquiry about the way intention unfold: Decision making - 'that something inside that knows' intuition?
The way that we are already latent in the genes of our grand mother?
There is a lot of dying phases in the process of maturation of the egg - negotiation and stillness -
The phase of implantation: when the egg land and feed itself from the floor of the womb - the landing process is the forming process of us.
Mesoderm (the middle of the three germ layers, or masses of cells (lying between the ectoderm and endoderm), which appears early in the development of an animal embryo. In vertebrates it subsequently gives rise to muscle, connective tissue, cartilage, bone, notochord, blood, bone marrow, lymphoid tissue, and to the epithelia (surface, or lining, tissues) of blood vessels, lymphatic vessels, body cavities, kidneys, ureters, gonads (sex organs), genital ducts, adrenal cortex, and certain other tissues. See also ectoderm; endoderm.) she referred to it as the primitive street which essentially is responsible for the formation of the spine.
The start of the heart beat: It is a rush of the blood flowing into what will become the head, a movement that will produce at 21 days the first heart beat. (see Buddhist view of the wind of both parents creating the first heartbeat)
We form out of movement in our fluid. MOVEMENT COME FROM FLUID - Tidal influence of the moon. The forces of the fluid: imagination, feeling, emotion...they are all at play in our decisions
The first tidal movement of the body is the breath - inhalation - exhalation (90 seconds)
She referred a lot to the notion of CALLING - INNER CALLING - INTUITION through which we orient. The knowing of the embryonic cell - even interrupted it will know where to take it from.
The use of accumulation to let go (here at the end of the session Anna asked about accumulation of experience and having done a succession of exercises that will shape our perception.)
The inner and outer body: the inner body is the body of the mother and the outer body is the body as it will be.
Int term of methodology Miranda used the expression 'rocking out of it from the periphery back into the centre' - WIDENING THE FIELD- beginning to narrowing from the widening (like finding a spot and then narrowing right into it.
Exercises fro the practice
The choice of the stone:
in pairs talking about the choice of that particular stone and trying to relate it to a memory. talking about its qualities.
Then choosing a spot in the room to place the stone. Movements practices:
warming up: walking in the space and noticing the breath then exaggerating the stomping of the feet using the rhythm of the breath. shaking, the back walking backward, using the surprise factor to wake up the body. 'surprise yourself' disturb yourself.
Imagining your body being liquid, liquidizing the entire body. Using stillness of the body and waiting for the movement to come. Recordingpractices
with clay. (each got given a ball of clay the instruction was to let our hand move through the ball with our eyes closed)
Writing about the previous experience
Then sharing with the same partner we have shared the stone history with.
Movement practices 2:
The yawning warm-up: Taking a big inhalation with mouth wide open, opening all the way down until a yawn comes. Letting movements come from it - awakening the body through the opening instead of feeling tiredness, stretching and breathing though a sense of vitality of movement coming through the rhythm of the yawn. feeling the tidal movement...
Closing your eyes, then opening and choosing a spot in the room, walking to it, feeling it in your body letting the imagination take over and impulsing movements. Then reiterate 3 times:
The last spot should be where you stone is.
Finding another partner and sharing the process and talking trough what that spot can be ( a landscape, a person, a memory, an emotion....)
Then choosing one of the three and writing about it, once again letting the imagination go.
Reading it to the partner
The partner do a movement response for 5 minutes
without transition the person who read her text start to take over the movement for 10 minutes.
Then talk about it and swap text
Rounding of the session:
On the floor each participant gives 1 or 2 words related to the stone and the experience.
Cut and past myself
distributing myself through different mediums.
Today I have thought about a self interview system of recording the process. I need to think about the questions that I could ask myself.