Thoughts on the spot, 10.2.11

Question guiding the tasks of the session today: how do we move from experience to the more complex issue of creating intelligible artistic (dance) form

Focusing on ORIGIN NOT END in choreographic explorations presupposes a focus on evolution (of series, of species, of systems).... Evolution wants to evolve, it does not aim to end, an end is contradictory to its essence...an anomaly... it insists...origin embrace life forces, end death wishes.... trying to get rid of the nihilistic philosophical inheritance ingrained in art-making (Ana) origin is a place I am going to. (Vitoria). angel=the whiteness of a touch. (Io). clarification of origin is a clarification of the process, as to know what/where is, is already implicated in its evolution, that which makes it this an not another, Arendt over and over and over again... what it is knows -beyond words- what it wants to be, what it wants is connected to its desire in pure existence...want and desire indissoluble, is that not what art is after all all about.... (ana) ? you!I! can shift your finish to an origin..that is a start!? going to my origin makes a noise I want to avoid. (Olga) this place exists i know it so well I live with its breath rain and sun (Vitoria).

Let the hair drop

the Wings of A Body-----How many?

Language /Logos = E-Motion (Io)

Somewhere here is the link between personal experience and the issue -challenge perhaps- of what is normally termed artistic form.(Ana).  Τελικά τί είναι ωραίο; Αναρωτιέμαι... Ποιά είναι η αισθητική της κίησης; Σίγουρα θέλουμε να βγάζει νόημα αυτό που κάνουμε, αλλά ποιά είναι τα όρια μεταξύ ωραίου, ευκρινούς και πραγματικά αυθεντικού; ("In the end, what is Beauty? I wonder... What is the aesthetic of movement? Of course we want what we do to make some sense, but what are the limiths between Beauty, clarity and authenticity?" Evgenia).

Now we move onto first, what is sets up finite(ly) and infinitely ..if this is 'one' (proto), what is 'two'? (Ana)

I Need to Stay with That

Until I Find What Is That (Io)

In what ways is a choreographic process one of (self) knowledge of (self) discovery, only when I know 'my dance' (allow that immersion) will "it become clear" (Evgenia's question, almost an anxiety) if not it is un-intelligible to another, although part of who I am is embrouille in this an-other (damn, Arendt again...).

Ana writes (Ambelokipi, 5.15.pm): We confronted the artistic, aesthetic, structural, technical, performative- challenges within the CHOICE of determining "a first" from the pool of variables contained within the series of exercises today (fragments of 'a dance' began to emerge) ..and from there began to unravel notions of consequence of/from this choice.... only then can any talk of 'right' or 'wrong' choreographic form can take place.

For 'homework' I have asked them to keep the 'fragments' alive from today to next Tuesday, to carry it like a constant present day dream...continuously interrupting daily life, as I have read Mahler used to do with fragments of his symphonies in the making....through that learn its every contour, dynamics, texture, shape, time, space in , space without, it may even acquire a taste, a smell, it may begin to trigger other thoughts, other day dreams...I am not asking them to 'remember' but to keep it constantly present as a latent sense environment ..I want them to be, dare I say to 'live' 'in dance (not just movement as we do live in movement continuously) as constant as possible between now and the next session...it is a character building exercise more than anything else...thinking back to Michael's description of whom he considers a good dancer...this is what it means to know your practice...the studio is only the tip of the iceberg....we give a twist to Michael's statement, "there is no in or out in the process of a work".