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?
