random thoughts
o care is about ‘not-to-destroy’ things – it is about preservation – preserving the security of a thing – care is the basis of all movement – and it has come from coordinating skills – and learning how to become coordinated
o with my in-built attitude of care, I have respect for objects in the world and in my immediate environments (although I might heirarchicise these using preference criteria and importance) – generally speaking, I want to keep the world intact and leave objects alone so that they can peacefully go about their duty servicing my and others’ needs – everything sits in a state of readiness and availability – waiting to be used according to melodies and patterns of movement that choose or determine where physicalities alight (Gins and Arakawa’s ‘landing sites’)
o nature provides examples of things we can learn to duplicate - built environments duplicate ourselves
o dance movement is about rearranging body parts in different configurations and relations to each other - they're about manipulating self materiality for the sake of it
o I’m so surrounded by where I can’t go, I get used to it and instead focus on and accept the ‘where I can go’s’, most of the time I completely ignore and forget all the ‘where I can’t go’s’
o big wild movement is an aggression (perhaps all movement has the seeds of aggression) – it is a war against barriers – in open space it intimidates barriers and dares them to come near – in enclosed or narrow space, it is unhappy that it is forced towards stillness – it hates being dominated – movement is a dominator
o the difference between small and big space is the difference between the dark oppression of defeat and the open sunny light of victory
o open space smiles on abandonment
o the mechanical repetition of walking is built around straight lines and right angles which are established in the body locomotive as natural and primary – this is a stiffness and ploddy-plod digitisation that creates flow, evenness, and continuity through the disrupting effect of punctuated repetition – dance breaks and falls through walking’s barriers to catch itself in flow as a departure from the confined mechanistics of walking – flow brings in circularity that right angles and straight lines in the natural walk, postural, and sitting states of the body deny
o when dance is in empty space (like a studio), it has itself to explore, i.e. raw movement, or the architectural planes, designs, and surfaces of other dancers – the ground is a constant that is used maximally to compensate for the lack of other fixed objects
o when environmental factors/structures are introduced and impede open space – these alter and affect movement and immediately invite/attract/enforce interaction
o why straight lines and right angles are more natural for the body and movement is because they dominate the structural mechanics of the body itself – this is the basis for their predominance in built environments – the dominant angularity of built environments not only furnish movement economically, they mirror the body and are customised to its mechanistic form and dynamic (like sculptural moulds) – squares, rectangles, straight lines, etc are not un-organic when it comes to the human body – they are reflections of its dominant construction principles and features
o the body may have curved surfaces that themselves are identified as organic, but the breaks at the joints render it angular
o in movement, the body traces circles more freely than it can make them – the body is predominantly angular in its breaks and construction – the major exception is the spine, which can curve, twist, and become rounded – we can also curve the feet (with good arches) and rotate the forearm – the tongue is very good at circular shapes – but the joint-angled being that we are has no difficulty tracing curves and circles in many different movement ways in the immediate space surrounding the body – this allows us to experience circularity in ways that extend beyond the body’s physical capacity – we vacuum these traced curves back into ourselves as though they were of us and not of the air around us – this is a kind of kinaesthetic reversal – proprioceptive appropriation – we are insect-limbed with snaky torsos – we are climbers more than slitherers
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