Coming into representation. Mental Flickering. The Presence of the Body.
The improvisation score is now Inside and Outside, the internal eye and the external eye, oscillating between noticing the movements and noticing the images projected through the movements.
Tableaus that are arrivals. Am I trying to get 'to' a preconceived tableau, or am I just noticing when I happen to arrive at one? Accident or incident?
Awareness of projections, and awareness of representations and the implications of appearances…
I’m trying to generate words from a movement score using my mouth and vocal chords. I also try this with my face. I’m following sensations, letting them come into representation, either visually (with my face), or linguistically (with my mouth and vocal chords). This is an attempt to navigate via movement, and to let it carry me into the familiar, into context, or something I recognize from my mental archive. A simultaneous awareness of inside and outside.
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#1
Notice the axes.
As you notice them, rotate around them, allowing movement to expand or contract in scale, degree, or distance.
Follow your attention, and try to notice your movements as they happen ‘to you’.
Plant, pivot, plant, pivot.
Dig down, build up, rotate under, dial across.
At the same time, become aware of your outer shapes.
What shapes are you making? What do they look like, or appear to be representing?
Peruse your image bank.
Whenever you arrive at a position that you think communicates something iconic, archetypal, or pedestrian, then pause.
During the pause, think about this state/place/picture. Does it have a name? Does it have qualities?
Continue.
#2
Notice your face.
Does it match your feelings?
Notice the sensations of your face, and following these sensations like a continuous unfolding.
Like a pen dragging itself along paper without lifting. Holding its breath.
Stay continuous, try not to jump or skip over facial pathways.
What do you think your face is communicating?
Are there micro moments where a trajectory of communication feels clear to you?
Perhaps it matches your feelings.
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Other questions/observations:
What does the loss of the image do? At the end of the video, does the viewer project onto the black screen?
I’m working with shadows and perspectives against the wall. I love these. I’m going to follow this more in-depth. They are disorienting, and splinter the body and dance movements that happen between the moments of contact with the wall. It looks like I’m hanging at one point, and my hands are crustaceans.
Post New York I’m thinking about the present absence/an ontology of loss, shadows, and the formless form. Conversely, I’ve also been thinking about representation and its subtleties (both indexical and iconic) that are tied into this process of bringing consciousness to my inner world, and the implications of the content that comes through. Taking responsibility for what it looks like I'm doing... The words have inescapable meaning too. The body is constantly communicating. In moving forward, how can the choreographic structure I apply to this process bring more specificity to designing these subtleties? And what about materials, or corporeal 'materials'? How fleeting and untouched, or unedited, can they be? Thinking about Wabi-sabi, immateriality and emptiness, trace, imperfection, impermanence, transience…
