Moving toward the still act.

Waking-up is the threshold between waking and sleeping; in these thresholds there is this turning point and we decide whether to follow habitual action or improvise.

This is how the choreographic object works. […] You half turn your attention to the quality of ‘having fun’ and before you know it, your posture has shifted. You’re tending toward the fun. This movement-with becomes the initiating gesture toward the time of the event the choreographic object proposes. […] When an object no longer seems to be quite what you thought it was and the experience of time no longer feels as linear, it’s because the event is beginning to take over. No longer as concerned with your ‘self’, you are now experiencing the potential of the future mixed in with the resonance of the past: a futurity of pastness in the present. Play. (Manning, 5)
This experience is spacious: it takes us into the time-slip of the event. This speciousness has a quality of fabulation: it enervates us toward the paradox of time and incites us to invent with time. [7] Choreographic objects draw us into this speciousness by infiltrating our experience with the verge of this doubling [….] they exist in the between of a proposition and its eventness, inciting the participant to invent through them, to move with [….] Choreographic objects draw out this paradox of the linearity of measured time versus the duration of experiential time. “The practically cognized present is no knife-edge, but a saddle-back, with a certain breadth of its own on which we sit perched, and from which we look in two directions into time” (James, 1890: 609). (Manning, 6)

wanting to choreograph movement without the movement

-embracing the background movement- not wanting to tune out movement that does “not matter”, but matterings happen in conversation with the movement-scape

-embracing these movements that give me pause

slowing down and yielding in relation to listening from a disorienting perspective

entwines movement within the  particular place

to study movement means to attend to the background movement not as something to be tuned out or dismissed

-movement that move the body, refusing to stay still, create productive tensions between the body the context and the listener inherent in the negotiation of meaning.



photo (1)


photo (2)

p. 89 politics of touch
The normative aspect of touch is constrained to an ontologization of touch where “I touch you” inscribes “I” and “you” as forms of Being rather than becoming. On the other hand, touch as a concept that implies a toward is not ontological but ontogenetic. Reaching-toward, qualitative changes are expressed in and through the bodies in relation. These are qualities of movement rather than properties of Being. Touch as a reaching toward is not a question of Being. It is a question of becoming. Ontogenetic, touch is incorporeal, it is always beyond its -self, equal to its emergence

Politics of touch
UMHEIMLICH (strange, uncanny, homeless)
quality of unknowability
within the unheimlich quality of unknowability we sense a politics of touch where it is not visible who leads and who follows…p. 43 politics of touch
a friendship to come, an uncanny and strange friendship that dos not bind them as individuals but instead allows them to sense one another, to listen, to feel to make contact
-a friendship of potential, a modification of space-time, a movement that evokes the in betweeness that are bodies in motion

p. 44. Sensation

p. 59 Touch crosses space time via the body, creating a becoming-body while establishing diverse relations with all that surrounds our bodies. The desire to cross space- to touch an other is a desire in movement as well as a movement of desire.This investment of desire re-signifies the space that separates me from you, awakening my body to the different sensations your body evokes in me