Bibliography:
Emily (in progress):
Huurdeman, E.G.A. Essaying art, an unmethodological Method for Artistic Research, Empedocles, Vol. 11 #1, 2020, pp. 25-42
Huurdeman, E.G.A., Essaying as (collective) process LKCA Culture + Education #65, 2024, pp. 26-57
CREPPELL, I. MONTAIGNE: THE EMBODIMENT OF IDENTITY AS GROUNDS FOR TOLERATION, Res Publica 7, 2001 pp.247–271
Montaigne, auden, collected poems
Dorothy L. Stegman
EXPOSING MONTAIGNE
Textual Embodiment in the Essays, Routledge, Prose Studies, Vol. 29, No. 3 December 2007, pp. 312-322
CREPPELL, I. MONTAIGNE: THE EMBODIMENT OF IDENTITY AS GROUNDS FOR TOLERATION, Res Publica 7, 2001 p..253
CREPPELL, I. MONTAIGNE: THE EMBODIMENT OF IDENTITY AS GROUNDS FOR TOLERATION, Res Publica 7, 2001 p. 276
CREPPELL, I. MONTAIGNE: THE EMBODIMENT OF IDENTITY AS GROUNDS FOR TOLERATION, Res Publica 7, 2001 p. 249
CREPPELL, I. MONTAIGNE: THE EMBODIMENT OF IDENTITY AS GROUNDS FOR TOLERATION, Res Publica 7, 2001 p. 267
CREPPELL, I. MONTAIGNE: THE EMBODIMENT OF IDENTITY AS GROUNDS FOR TOLERATION, Res Publica 7, 2001 p. 254
CREPPELL, I. MONTAIGNE: THE EMBODIMENT OF IDENTITY AS GROUNDS FOR TOLERATION, Res Publica 7, 2001 p. 248
CREPPELL, I. MONTAIGNE: THE EMBODIMENT OF IDENTITY AS GROUNDS FOR TOLERATION, Res Publica 7, 2001 p. 267
CREPPELL, I. MONTAIGNE: THE EMBODIMENT OF IDENTITY AS GROUNDS FOR TOLERATION, Res Publica 7, 2001 p. 271
Huurdeman, E.G.A. Essaying art, an unmethodological Method for Artistic Research, Empedocles, Vol. 11 #1, 2020, p. 37
Huurdeman, E.G.A. Essaying art, an unmethodological Method for Artistic Research, Empedocles, Vol. 11 #1, 2020, p. 37
Huurdeman, E.G.A. Essaying art, an unmethodological Method for Artistic Research, Empedocles, Vol. 11 #1, 2020, p. 30
Huurdeman, E.G.A. Essaying art, an unmethodological Method for Artistic Research, Empedocles, Vol. 11 #1, 2020, p. 37
Huurdeman, E.G.A. Essaying art, an unmethodological Method for Artistic Research, Empedocles, Vol. 11 #1, 2020, p. 37
Huurdeman, E.G.A. Essaying art, an unmethodological Method for Artistic Research, Empedocles, Vol. 11 #1, 2020, p. 30
Huurdeman, E.G.A. Essaying art, an unmethodological Method for Artistic Research, Empedocles, Vol. 11 #1, 2020, p. 312
orothy L. Stegman, EXPOSING MONTAIGNE, Textual Embodiment in the Essays, Routledge, Prose Studies, Vol. 29, No. 3 December 2007, p
Huurdeman, E.G.A. Essaying art, an unmethodological Method for Artistic Research, Empedocles, Vol. 11 #1, 2020, p. 313
Huurdeman, E.G.A. Essaying art, an unmethodological Method for Artistic Research, Empedocles, Vol. 11 #1, 2020, p. 314
8 weeks and 4 days ago my mother also died, very suddenly, very beautifully, a death that was at once awaited and still wholly unexpected. Washing and dressing her body some hours after she passed (with my father, then still very much alive, fast asleep beside her), I conjured the researcher in me, because I needed someone by my side to help me remember what was happening, to be able to reflect on this later, to process, I guess. and she helped me alot. Together with the researcher I can look back and understand why I longed to see my mothers naked body one more time, this body that made me, nurtured me, is so familiar to me, and alien at the same the, girlish and ancient at once. The body connects me to all the version of her I have known. And this is key.
How do we access embodied knowledge, as in: how do we make practices that expicitly access or tap into that knowledge?
I have read this text many times, but now it gains new meaning to me. My Dad decided he no longer wanted to live a few weeks ago. First he stopped eating. Then he stopped drinking. After that it took four and a half days for the body to give up. I realise there is a very big difference between suffering as a (usually) younger person of anorexia and an old person's decision that he doesn't want to live any more. But there is synchronicity in the desire for, and sense of, mastery over the body. My dad, he made this very clear, felt this and took this as his last act of autonomy. He could do this. He could make this choice and execute it. He was in control, over us, over his situation, over his life and body, and therefore over himself.
Is the word a way to access an experience, or is the esperience a way to access a word? (experience as in sensing, throught the different senses?
In her book Sensing Sound Nina Eidsheim attempts a reconception of sound through the practice of vibration by "destabilising" the categorisations within the academies (auditory is for music, touch and movement for dance, vision is for art).
Sound can be experienced through all senses, through performance and through metaphysics. We often reduce our understanding of sound as phenomenon by looking for its usefulness in"constructing meaning". However when we give name to something we are easily de-attached from the experience which we are naming.
So what is the experience behind the words “voicing” and “listening” or "hearing"? How do they feel, look or sound? Do we all share the same experience?
An exercise we practiced with my collaborators revealed this very clearly when words were portrayed through images or sounds. With image theatre by Augusto Boal (Games for Actors and Non-Actors), “the meaning of an image is the image itself”. The spectators should look for signals before identifying symbols or interpretate. The message is dependent on the receiver as much as the sender.
One of the lab participants commented in her notes on that exercise:
"I initially understood "resonance" as the positive reverberation of shared experiences and encounters. Through performative research, public interventions, and the creation of a permanent sound installation, me and my collaborators investigated how resonance can amplify connection, and enable new forms of expression across disciplines and communities.
However, as the work evolved, I began to shift my focus toward other, less affirmative aspects of resonance—resonance not only as amplification but also as distortion. A kind of decay or smudging of the original sound or source. An echo that moves us away from clarity, from knowledge, and even from intention. This turn has led me to consider resonance as both a force of connection and of erosion- a duality that continues to shape my understanding of voice, listening and embodied expression".
According to LaBelle we can think of “listening as what we give and that others give to us”. A directed attention that can be regarded “as the purest form of generosity” quoting Simone Weil. But listening can also harm, “making vulnerable some more than others”, and then it becomes necessary to cut this inclusive nature of listening.
As my work field supervisor Stephanie Pan mentioned in our last meeting “Creating space is not just radical inclusion”. There can be an "oppression of kindness". We should always navigate if and how this kindness allows people to be themselves.
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Seeing “the body as a process” as Julia Kristeva points, unfolding within space and time, allows for voicing and listening to be explored through play, curiosity, un-knowing, and an understanding of everything we do as collective practice.
SCORE / PROMPT:
Can you place your right hand on a place on or in your body where this sentence might resonate?
Place your left hand on the left hand to check if it agrees?
Mandic, Danilo, Caterina Nirta, Andrea Pavoni, and Andreas Philippopoulos-Mihalopoulos, eds. HEAR. University of Westminster Press, 2023. https://doi.org/10.16997/book62.
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Nina Sun Eidsheim. Sensing Sound: Singing & Listening as Vibrational Practice. Sign, Storage, Transmission. Durham: Duke University Press, 2015.
Page 7.
Mandic, Danilo, Caterina Nirta, Andrea Pavoni, and Andreas Philippopoulos-Mihalopoulos, eds. HEAR. University of Westminster Press, 2023. https://doi.org/10.16997/book62.
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