I am sharing this padlet with you, as it is the ground and collection of thoughts, inspirations, ... for my research and therefore my proposed problem & task.

In relation to the issue you have with writing about this (your practice): think of the first image you have when thinking of writing and then schizz it. Also, what would happen if you move from the relation between writing and you/your practice and not one or the other?

• A body available to be affected, regardless of living or non-living body.

• A kind of "organism" start to emerge on the picture.

• Some bits of unknown system functioning as a assemblage.

• It came to me the image of orbits that planets orbits around a central body - or planet.

Where I find the biggest trouble in my process so far is getting deeper. From what I experienced; I create multiple cores but not actual cores, more like distractions. My patience runs out quite fast and I struggle to create an entry point to go deeper. I use the accumulation of things to include as many possibilities as I can think and then try to subtract what maybe is not necessary. An attempt to create a playground of materials to play with. Creating chaos without wanting to create one.  In the subtraction process, I cannot decide what is -maybe- irrelevant. That is because I lack in identifying the core of my playground love- work. Is self-awareness the main issue here? Still, I cannot identify. There is a tendency or perhaps desire to outsmart every situation. Humor, as a method of distraction.  Avoiding unravelling a deeper layer of my work and myself. What happens to shallow or even hollow art? What happens to shallow or hollow artists? What is my hole? Are my holes an entrance or a revelation of my empty spaces?  How do I feel my holes? How do I fill my holes? And how do my holes feel/fill/film me?

The way of dealing with it: I do not.

I try to create mechanisms that can resolve the problem for me. I try to find the answers by only creating the parameters that may solve the problem for me.

THE PRACTICE. What moves me?

The gam(z)e- GAZE

What I see. What sees me.

In pairs or not.

Introduction 5 minutes

Part 1. 15 minutes

A guardian angel with kinetic rules (the music game).

The kinetic rules:

1.     Try to step each note.  

2.     Music starts. Every time there is a shift in the music there is a shift in the body/space.

Move ‘freely’ with your eyes closed. An observer/ partner takes care of the person with their eyes closed.  After the experiment, the person with their eyes closed must create a space map/ diagram depicting their experience. Then the guardian angel has to recreate the ‘experience’ based on the space map and their own view. Then both partners create a new personalised diagram of the second embodiment of the music.

Part 2. 10 minutes

Play with the gaze. Explore the space.

Avoid the gaze. Engage with the gaze. Be moved by the gaze.  Follow the gaze. Dismiss the gaze. Stare. Delve into the gaze. Maintain.

 I want to see the world with your eyes.

 Part 3. 15 minutes

The camera was rolling.

 (How) do you feel me?

(How) do you fill me?

(How) do you film me?

 We review the footage.

Going nowhere freed my need to move productively. Explore the static perception of walking. I was juxtaposing the fundamental element of walking, the transfer.

For Niki: The way that language shapes and forms my movement. And the commitment that it takes to stick with it. How do I schiz the established way of moving? Is it just a matter of choice? Following the rules creates safety and comfort. But it stays somehow the same. What are the layers that can be added in order to "elevate" the comfort of the familiar?

For Feli: My imagination is my partner. It is impossible though to tame it. It is an untamed partner. How do I work with that? Again, the juxtaposition of the stability and rigidness of a geological body with an untamed imagination can create that schiz that engines a new viewing of the human-non-human body relationship.

For Qiqi: Stretching the body and mind. Ideas that fold and distract the concept of normality. How do I attack the idea of normativity? Disruptions are the glue that brings everything together (the ad, the contortion, the speech in a meditational experience).

"Put on one of the music tracks and start anywhere

or

It could be nice to start low, lying on the floor, breathing.

Begin with continuous slow motion, when you started you do not stop. Moving in and out of the floor.

Use weight shifts which allow for travel through space – slowly. Use the spiral, the twist, in your spine, in your whole body, often – slowly. Look at each other – see each other –

seeing is being seen. Once in a while repeat for yourself the question: How slow is slow?"

more on Peter Pleyer: https://crankybodies.com/en/

Let small be the first of the pleasures to come. Accept the first perturbation of that emptiness as the focus of the next moments. It is not a dance about you, or your partner, human or otherwise. It is a dance about its movement".

Source: Source:

Contact Quarterly - dance & improvisation journal

special edition

CI 50th Anniversary 2022

More about Steve: https://contredanse.org/en/Authors/steve-paxton/?lang=en&fbclid=IwAR1XgXrbco49Hqg-6ZedwBlym7mmYyhPOVfFJ_iw4lk7k8Fcnu7voAEuMb8

https://www.youtube.com/watch?v=-_arXhDdm2k

https://www.impulstanz.com/en/workshops/pid3267/

Alfred North Whitehead

Nicolas Jaar - Cenizas

Kelly Lee Owens - Bird

"Synchronicity: a state of mind prodromal for creation and for being in the moment. The idea that a person is a participant in and meaningfully related to the acausal patterning of events in nature. This underlying unity gives opposites (such as inner versus outer, psychic versus physical, spiritual versus wordily) the potential to become linked in meaningful acausal synchronistic experiences." (Giordano, 2020)

lunch break. hands. after Clio's practice

Now I am researching the contorting body, using Feminist Translation and Feminist Auto-ethnography writing in the process. I encountered many theories in the literature reading and thus had interesting theoretical associations (conceptual contortion). For example, the contortion pose as a bodily glitch; the overlapping identity of a feminist translator who is born bilingual, learning patriarchal tongue with her own tongue mute and the feminist auto-ethnographer who is reviving her own identity and tongue by writing the experience of the marginal bodies; the asian bodies that are both praised by their exquisite physical ability and enduring a certain western gaze…… 

My problem is, how to embody these lovely findings and proceed into performance making (with contortion as the main physical practice form)?

This is a very clear target. My first thought would be to use the group to show you ways of doing this. From the perspective of D & G, this would attempt to focus on it schizosomatically (moving away from the personal, one’s body, subject, subjectivity, individual and so on).

What does it mean/bring to embody them besides not letting the freeing theories be just lip service?

first thought: focus on ‘intensity’, affect, non-representation, proliferation, machinic desire (what you/the work want(s) more of, not what you/it lack(s)).

2. proposal

My instinct and temporal solution, to experiment with embodiment would be: list the interesting theoretical finding, write a score to experiment with according to it, perform, and then reflect (through writing the bodily experience), modify the score, perform… until there is a concrete finding.

Yes. How would it read were you to take the suggestions above?

Plan for the 45 min session:

1-10 warm-up joints, ready for contortion

10-18 introduce my contortion practice, guiding towards a contortion experience

18-20 introduce my problem

20-25 give out theories I find really inspiring to everyone, everyone writes a score of how to perform it with contortion

5 minutes might be too short. Hoe many theories are you thinking of?

25-30 exchange with each other, perform individually simultaneously

exchange verbally? or straight into being/performing together?

30-35 reflect, auto write, modify the score, and exchange again

I would invite participants to access their unconscious knowing, away from too much deliberation.

35-40 perform individually

what do others do when one performs individually? do they watch? are they in the same space as the one performing?

40-45 reflect, auto write, modify score, end

idem.

Revise: How do I usually do it unconsciously? - When getting ready to sleep, I always do it without consciously thinking when ideas come to me.

Session 1 - score: 

Relax, playlist: relaxed massage

guided stretching 10min

Falling into almost sleep, dreamy state while I read some lovely theories 20min

(Let the sound schizz with ads, hoping the music box would die from low battery but didn’t happen)

Write a score of experience 5min

Share 5

Revise and based on feedback: looking into folding, understanding horizontally, body-mind. Inspired when looking into the theory, mind - fiction - body - contortion

Session 2 - score:

Music on, playlist: floating in space

Self stretch 10 min feel your bones and joints feel free to alternate the space as well

Massage each other, totally relax. How is that different from your inner feeling. How is the weight of another body (parts) 5 +5

(The sound schizzed with ads, hoping the music box would die from low battery but didn’t happen)

freaktion...

Find a comfortable spot and position. Close your eyes, the whole world outside is dimming. Gravity is changing you can float or sink 

If you want only one ear, wipe one out. Rearrange your face if you want. If you want no face, it’s also possible.

Take a breath. Sense all the discomfort or pain, gently flow them to the edge the your body, watching them disappearing horizontally.

Center your pelvis, feel that it is softening down. There is no stiffness, soft like a jelly.

Now your bones and muscles and skin are also becoming elastic. Try with one arm or one leg first. It is extending to the farthest point you can be aware of.

Now, twist it back. Try to round it on your neck like a necklace. How does that feel?

Now that your body is elastic you will be a contortion guru. Try with other body parts. Try bending your spin too. In contortion you normally find spin binding either forward or backwards. Now you can do any direction. Try that.

Now you are free to explore. You got all the potentials.

Contort your body to a knot, until you cannot move any more.

Think of the question you had. Be with it for a second.

Hear this story.

https://www.douban.com/note/232613672/?_i=7954515eySgwzE,8340761eySgwzE

…

By Niki.

the occurrence of meaningful coincidences that seem to have no cause <3