[-empyre-] : "(E)MOTION FREQUENCY deceleration"

Johannes Birringer Johannes.Birringer at brunel.ac.uk
Sun Oct 9 06:20:17 EST 2011

thank you all for this focussed and careful week -  we envisioned it, here on soft_skinned space, as a workshop dwelling in movement awarenesses
and questions  – addressed to the existential ways in which we live, experience and create – coming or flowing out of movements and stillnesses,
and already the framework has widened considerably (thank you Elisita for going back to speak more comprehensively about ontogenetic filogenetic development,
connectivity patterns and organizational progression....

I see these dimensions and concepts (as you address them in biological, psychological and neurological context) as unavoidably vital for a further discussion of time,
motion / emotion, and frequencies/rhythms in social or cultural areas, and artistic practices, which may soon be brought to the workshop.

I was not entirely sure, when we began, whether a movement workshop or Choreolab –  and movement practices as such –  could be the starting point for this philosophical
discussion on transformation and on awareness of how knowledges are created or valued  - but I feel it was an ideal setting for raising the issue of integrating body and mind,

and, if you were to ask around, what practices are people engaging to center themselves or to transform themselves or to heal themselves? to connect? 

[thanks Simon for some cross-lateral production work, distraction is always good, and the song ("Superman You're Crying, Superman You Need a Rest") in its blue screen studio
creation is just fabulous]

Elisita mentions that she is going off to "a workshop on ritual body postures and ecstatic trance".......

This made me wonder, after pondering Michael's posts all week, and the insights that were offered by Amos, Sebastian and Fabrizio,  what physical
practices we choose and why?  and to what extent, say in the performing arts  (Phillip Zarrilli and his co-authors in the book "Theatre Histories" tend to refer to cultural
or performance "specialists" when they discuss people who enact particular forms, whether oral traditions or shamanic practices or, for example,  Noh and Kathakali or method acting or Suzuki technique) , 
the emphasis on particular "methods"  has always been so strong;  we have so many "techniques", don't we?  But how do they extend the ontogenetic development and at what point to they stop being
vital for existential transformation -" integrating body-and-mind not only within the framework of being some-body but due to a process of being every-body, thereby containing possibilities as e.g. 
to creatively transcend disciplinary boundaries..." (MW)  – or even for creative transformations in the art of performance ?   (I was watching the so-called "stamping" practice in Suzuki training last night
and asked myself whether what the performers say about the technique makes sense to me?). 

I think I am asking whether the physical and spiritual dimensions, variably addressed by practitioners who
practice a method, are recognizable valid shareable and culturally effective dimensions, today,  and how and where do you experience them?

Johannes Birringer

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