[-empyre-] whose "our systems" & body weather

[Johannes Birringer]

Dear all, John

thanks for your fascinating response, which is so rich that one could talk for a long time, and our DAP-Lab ensemble would undoubtedly enjoy your reference to redirected sensory flow experience (we peformed much of the second
Act of our recent dance opera "for the time being/Victory over the Sun in the dark, we tested that last summer in a coal mine (yes), and chose to work on sonic/audible effects in the movement and performance with wearables - the
noise we generate is part of the breathing (and as far as my knowledge of in/exhalation goes, I am still much interested in inbound gestures, not a bounded condition of a "spent model", as you imply, but space and sound-making action that also has effects on various proprioceptions (the warm and cold blooded - we have birds in the opera too; though the snake was indisposed) and also the various cultural corporeal knowledges involved  (not "dancers in a room" but particular women and men with specific, and specifically trained, culturally embedded senses of what a reflexive or a social gestures might be and how they transition to voice, noise, the complex system of exchange, partnering, blocking, unpartnering, isolating, abjecting that you and others have mentioned.

As this week ends soon, allow me to send you in my next/last post the brief stories i had collected last week on embodiment and what John has now called attenuation, filtration, or blockage; the virtual became for me something both non technological and more or less perverse, more toward the Assyrian gabbu and the intestinal  (Alan's reference). 


Simon -- "For me, the line reveals the shape of the dispositif" -   interesting comment.   

I saw a compilation:  overlaid computer tracings/vectorizations) of a Deborah Hay dance "No Time to Fly" [see attached]
A friend, Scott deLahunta,  sent me the image of my old mentor Deborah's dance, on the occasion of the launch of MOTIONBANK in Frankfurt last November, noting that it was (of course NOT a dispositif, but what I love about the movement in shambles, namely) like wild drawings,  of constantly changing versions, flows, pacings, transiences, and transitions:   21 versions of Deborah's solo into a 90x90 array of vectors virtually pointing to differentiated space making and space of all possible choices rendered out......[ ] and Scott added, it "looks like a new reality to me -- Deborah Hay as weather system -- actually that's not a new reality at all -- she's always been a weather system".

respectfully

Johannes Birringer



++++++++++++++++++
[John schreibt]

What happens in a simple sense is that the energy flow that would otherwise be
impinging on your body-system is directed or available elsewhere (probably in
another 'form').

"In the moment that the embodied manifestation of flow presents itself, a
negation of flow also appears: attenuation, filtration, or blockage. Blockage is
the reciprocal of flow: the attenuation or seemingly absence of flow. .... The presence of a strictly defined
pathway suggests that outside of that pathway there are limited possibilities or
allowances for flow."  [Hopkins, J., 2012. The Regime of Amplification. 
[..]
Think of dancers in a room, breathing, the energized matter we call 'oxygen' and
'nitrogen' is being bodily exchanged between everyone in the room; infrared
radiation is radiating from one body; impinging on another, changing the base
metabolic situation (temperature). Our bodies are 'constructed' as a complex
system of protocols that direct energy in a variety of ways, each re-direction
of energy wastes a little bit (or more!) energy.

Maybe having the dancers in a room where there is no visible Light at all (an
underground mine comes to mind!), so that some of the other senses might be
awakened (the sound of the breathing, the heat of the body)...

[...]


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