What is the effect of writing on experiencing and vice versa?

 

 

Is it a method of production that is limited to concepts from Body Weather?

 


PRACTICE?

 

What is meant by ‘sensation’, ‘perception’ and ‘reflection’?

 

What are the differences between the three?

 

What is the significance to other fields?

 

What

do

you

imagine

as

the

outcome

of

a

workshop?

Are you practicing

a certain

consciousness

when you

are doing

the

research score?

 


What


is




the






hidden











agenda?

Can you create

a shared

understanding

about what is

at stake

while

exploring

the body

through

Manipulations

or

Body Weather?

What


are


the


distinctive


types


of


knowledge


that


are


embedded,


enacted,


and


created


in


and


through


the


Manipulations?

 

What

is

it

that

you

already

embody?

 

How can embodied nonverbal information be shared with other dancers and people who may not have similar experiences?

 


 

What might be the implications of the knowledge and understanding that you have gained through Body Weather in relation to epistemological and methodological issues of artistic research?

 


 

What is the bodily knowledge created through the Manipulations, and how to approach a linguistic articulation?

 


 

How to manage passionate engagement and cool reflections?

 

 

What is the impact of the Manipulations on the practitioner’s process of perception?

 


 

How do practices of thinking and doing intersect?

 


HOW

 

Can you always come up with new words?

 


 

Is there a difference between manipulating yourself and being actually manipulated by someone else?

 

TO

How can we consciously transform our information of body sensations       toward knowledge in order to build of that relevant dance knowledge in the dance and its related fields?

   Is    there    a      specific   kind   of    subjectivity   at   the   

 

What is the role of “imagination” and “memory”?

 

AND

 

BRIDGE

 

Do we       have a system with the Glossary?

 

Excerpt: Research score, followed by a short movement improvisation

(Video, 12'05 mins)

What type of bodily       knowledge did you bring with this Glossary and what do you want to produce from it?

 

THE

Is

the


a

closed

system?

that


of



centre?



the

is



where


and



What

The Glossary

(PDF)

Full-length video recording

(1 hr 50 mins)

is the role of imagination in the relationship between sensing, perceiving and reflecting?

 

 

Is it a method of production?

 


 

How is bodily knowledge related to processes of thought and reflection?

 


What kind of subjectivity is it?

 

What is registered in the writing?

Is it sensations, perceptions, or reflective thoughts?

 

LANGUAGE

 

How does 'alteration' through the Manipulations happen?

 

 

How is bodily knowledge related to the other senses and to other forms of cognition?

 


 

First voice-over (> 0’44):

 

In this research score, I am conducting a modified version of the Manipulations, a solo version, in which I am working on the role of the receiver, however, without an actual giver. I am imagining the giving: I am imagining to be manipulated and I am recreating the sensory experience of being manipulated - for example, the touch of the giver’s hands on my skin, the pressure on a body part when it is being compressed, the giver’s weight entering my body, a muscle being stretched and released, a joint being bent or rotated and the extension that is being created, an arm being lifted, a bone hanging, and so. I am imagining to receive the Manipulations and I am enacting the sensation of being touched, moved and manipulated.

 

At the same time, I am expanding the frame of perception and observation: I am paying attention not only to bodily sensations but also to thoughts and ideas. And I am trying to keep track of these reflections through writing.

 

In the research score that I explored most recently, I added yet another layer. Whereas before, the task in the self-manipulation was to observe sensations as well as thoughts, I now added another point of attention. In each session of practicing the research score, I reflected on one individual word taken from a list of words, the so-called glossary. So, somewhat similar to making muscle tension a main physical reference point for observing sensations of the body, in each session of practicing the research score I used one word as a mental reference point for observing emerging thoughts. And I documented these thoughts in the form of writing.

 

 

 

Second voice-over (> 8’23):

 

The breath to exit the chest

 

For the other

 

Creating the body that listens to the other

 

Another body with another mind

 

What are you doing with this body?

 

What is lost and what is gained?

 

Close reading

 

Word by word

 

Dissect the text

 

Cross-read

 

Skip

 

Follow the line of the giver

 

And observe how you read

 

The hand getting bigger

 

Growing

 

A misperception

 

A hallucination

 

Changing the situation for thought and thinking

 

Mind into body

 

Body into mind

 

Attention like wind

 

Melting and Crystallizing

 

Dualities

 

Writing as a form of dis-embodiment

 

Imagination as a performative mode of thinking

 

Melting inside and crystallizing outwards

 

Tracing the passage between the conceptual and the perceptual

 

Thinking from the awareness of the other

 

Made possible by a withdrawal from the self

 

Polarities

 

 

 

GAP

Voice-over


 

Can a dancer’s bodily knowledge be reduced to kinaesthetic intelligence?

 


Manipulations No. 1 & 2

(Video 5'45 mins)

 

How important is controlling the mind and the body?

How much does the receiver control?

 

BETWEEN

Program

(PDF)

Is it necessary to release in order to sense?

 

 

Do

we

end

up

with

some

kind

of

structure?

 

 

 

How to bridge the gap between language and practice?