[6:17:45 PM] Marnie Orr says:
Query:
How is this body different from a tourist body?
It is conditioned, weathered, maintained.
MAKE IT SO
Monday, July 28, 2008
Developing choreographic material
To further develop choreographic material by increasing composition or dynamic:
Working with elements (as described above) will take the tool of Points of Intrigue a step further --- discover/identify the most intriguing PROPERTY of each element eg. the pattern of an ant's trail / or the ant's speed with directional changes. Or both. Use this process to cover the foundational choreographic principles to begin the creation of dynamic:
- trajectory (straight lines)
- meanders (curved, unduly lines like a river)
- points (turning on the spot, or still)
- direction (still or moving)
Working with elements (as described above) will take the tool of Points of Intrigue a step further --- discover/identify the most intriguing PROPERTY of each element eg. the pattern of an ant's trail / or the ant's speed with directional changes. Or both. Use this process to cover the foundational choreographic principles to begin the creation of dynamic:
- trajectory (straight lines)
- meanders (curved, unduly lines like a river)
- points (turning on the spot, or still)
- direction (still or moving)
Repetition & Familiarity
Repeat a trail. Track the difference as familiarity overcomes the unknown.
I believe this repetition will keep us accountable to the act of 'unstitching complete sense'.
I also believe we must tap into the local knowledge. i feel it is our duty.
I believe this repetition will keep us accountable to the act of 'unstitching complete sense'.
I also believe we must tap into the local knowledge. i feel it is our duty.
Groundwork outdoors applied
Detail:
- Enter unknown terrain within an 'approach aware' state --- notate own body experience & body residence/residue/resistance/resting place
And then in any order, at a later or immediate stage:
- Identify and map senses of terrain: on paper / in the dirt / say it / move it / share it. I would suggest the naming of things can work greatly here. Not always.
- How can I expand and elongate that sense, that state? How can I sit in it? What properties of this element will make this sense more encompassing (choice of speed, proximity/distance, time taken embodying this, etc in relation to the specific terrain)? Or less encompassing? How do I unweave this state, this sense? What parts make up the sum of this experience?
- What props (costume, camera frame, angle, time of day etc) will bring that sense to the forefront, that will resonate with the relation between the sources of the terrains (both body & country)? This is all about extending the time and space of the sense to enable it to breathe and hold life & dynamic.
- Repeat the mapping process again - refine. Can the mapping (from whatever medium it has surfaced - movement, voice, photograph etc) be repeated in another terrain? Indoors? That is, how does it transfer to another space?
- Enter unknown terrain within an 'approach aware' state --- notate own body experience & body residence/residue/resistance/resting place
And then in any order, at a later or immediate stage:
- Identify and map senses of terrain: on paper / in the dirt / say it / move it / share it. I would suggest the naming of things can work greatly here. Not always.
- How can I expand and elongate that sense, that state? How can I sit in it? What properties of this element will make this sense more encompassing (choice of speed, proximity/distance, time taken embodying this, etc in relation to the specific terrain)? Or less encompassing? How do I unweave this state, this sense? What parts make up the sum of this experience?
- What props (costume, camera frame, angle, time of day etc) will bring that sense to the forefront, that will resonate with the relation between the sources of the terrains (both body & country)? This is all about extending the time and space of the sense to enable it to breathe and hold life & dynamic.
- Repeat the mapping process again - refine. Can the mapping (from whatever medium it has surfaced - movement, voice, photograph etc) be repeated in another terrain? Indoors? That is, how does it transfer to another space?
Emanating ROCKface process: Structure
Structure to play within
- SL warm up circle --- acknowledge own body
- Morning training --- condition the body --- include speed/timing work --- develop essence processes --- memory based free impro --- start property transfer skills with size play then add other properties --- DEVELOPS CHOREOGRAPHIC MATERIAL
- Manipulations --- identify with other body
- Groundwork indoors --- identify with other body, & places, by 1st developing understanding of working within structured parameters (of space & time & movement)
- Groundwork outdoors --- same, expanded. Skills become applied through real experience.
- Become informed - historical/geological/geographical/cultural significance of area/location.
- OBA's - Open Body Actions based on inhabitation. Utilising the developed skills for free play/work time.
- SL warm up circle --- acknowledge own body
- Morning training --- condition the body --- include speed/timing work --- develop essence processes --- memory based free impro --- start property transfer skills with size play then add other properties --- DEVELOPS CHOREOGRAPHIC MATERIAL
- Manipulations --- identify with other body
- Groundwork indoors --- identify with other body, & places, by 1st developing understanding of working within structured parameters (of space & time & movement)
- Groundwork outdoors --- same, expanded. Skills become applied through real experience.
- Become informed - historical/geological/geographical/cultural significance of area/location.
- OBA's - Open Body Actions based on inhabitation. Utilising the developed skills for free play/work time.
Activities toward embodying terrain
[3:23:33 PM] Marnie Orr says:
- Points of Intrigue
- Drop|Snap - Body/Place Relation & Justyna's Relation to Objects - inside & outside, will work up nicely to Drop|Snap
- Wind applied
- Bisoku
- Blindfold - lead w string - Pairs & Solo in unknown terrain
- Bag of Bones
- Square work
- Points of Intrigue
- Drop|Snap - Body/Place Relation & Justyna's Relation to Objects - inside & outside, will work up nicely to Drop|Snap
- Wind applied
- Bisoku
- Blindfold - lead w string - Pairs & Solo in unknown terrain
- Bag of Bones
- Square work
Outcomes in many mediums
Outcomes - Potential
- Raw choreographic material - Written & Recorded
- Vignettes of movement / Vignettes of voice/sound
- Footage
- Stills - triangulating body|camera|country
- Poetry/written word and notes
- Raw choreographic material - Written & Recorded
- Vignettes of movement / Vignettes of voice/sound
- Footage
- Stills - triangulating body|camera|country
- Poetry/written word and notes
Where does the colonial body reside in me?
[3:16:37 PM] Marnie Orr says:
Content of Unstitching Complete Sense
Exploring identity in unknown country
Where does the colonial body reside in me?
What approach is my physical state when I enter unknown country?
Is it okay for me to be here? How do I know? Where do I know this from inside my body?
Is it okay to photograph this country?
How can I acknowledge this country, innocent & naive as I am?
How can I approach this country in harmony?
Content of Unstitching Complete Sense
Exploring identity in unknown country
Where does the colonial body reside in me?
What approach is my physical state when I enter unknown country?
Is it okay for me to be here? How do I know? Where do I know this from inside my body?
Is it okay to photograph this country?
How can I acknowledge this country, innocent & naive as I am?
How can I approach this country in harmony?
Landscape is a framed notion
[7/25/2008 12:38:40 PM] Cristina says:
initiation
being initiated into a land
landscape is a framed notion
based on my perspective
.. different from intricately a part of something larger than myself
country has a yersterday and a tomorrow and emotions and sensations
inseperable to the whole
[7/25/2008 12:43:31 PM] Marnie Orr says:
a few images or a song or a scape of imagination as the next port of call. metanarratives interwoven into this landscape
initiation
being initiated into a land
landscape is a framed notion
based on my perspective
.. different from intricately a part of something larger than myself
country has a yersterday and a tomorrow and emotions and sensations
inseperable to the whole
[7/25/2008 12:43:31 PM] Marnie Orr says:
a few images or a song or a scape of imagination as the next port of call. metanarratives interwoven into this landscape
Alice Springs to Darwin, 14-28 August 2008
[7/21/2008 5:01:51 PM] Marnie Orr says: Synchronise logistics with our aims
[7/21/2008 5:07:52 PM] Marnie Orr says: http://en.travelnt.com/advice/maps/alice-springs-to-uluru-ayers-rock.aspx
[7/21/2008 5:09:33 PM] Marnie Orr says: http://www.wilmap.com.au/atts/emily_gap.html
[7/21/2008 5:09:44 PM] Marnie Orr says: http://maps.bonzle.com/c/a?a=p&p=25593&cmd=sp&place=Emily%20Gap&file=Emily_Gap.htm
[7/21/2008 5:16:24 PM] Cristina says: arriving on the 14th
olgas on the 17th, 18th and heading back to Alice on the 19th
heading to Katherine on the 20th
[7/21/2008 5:26:42 PM] Marnie Orr says: arriving on the 14th
olgas on the 17th, 18th and heading back to Alice on the 19th
heading to Katherine on the 20thCheck out Emily Gap on way to Yulara (Uluru National Park)
Mon 18th - Olgas for the full moon, 18th.
Tues 19th - Re-stock at Alice (5hours drive)
[7/21/2008 5:26:49 PM] Cristina says: http://www.whatsondarwin.com/info/driving.html
[7/21/2008 5:27:10 PM] Marnie Orr says: arriving on the 14th
olgas on the 17th, 18th and heading back to Alice on the 19th
heading to Katherine on the 20th
[7/21/2008 5:27:48 PM] Cristina says: http://www.darwinfestival.org.au/index.php?option=com_content&view=category&layout=blog&id=35&Itemid=53
[7/21/2008 5:46:47 PM] Marnie Orr says: arriving Alice on the 14th
stay at Caroline’s on Mon 14th
make connections with artists in Alice on morning of Tues 15th
Check out Emily Gap on way to Yulara (Uluru National Park) on afternoon of Tues 15th
Olgas/Yulara on the 16th, 17th, 18th (full moon on 18th)
and heading back to Alice Springs (& Emily Gap if desired) on the Tues 19th (5hours drive)
Heading to Macdonnell Ranges or straight towards Katherine & Kakadu on the 20th
Arrive Darwin on Sun 24th to 28th
[7/21/2008 5:07:52 PM] Marnie Orr says: http://en.travelnt.com/advice/maps/alice-springs-to-uluru-ayers-rock.aspx
[7/21/2008 5:09:33 PM] Marnie Orr says: http://www.wilmap.com.au/atts/emily_gap.html
[7/21/2008 5:09:44 PM] Marnie Orr says: http://maps.bonzle.com/c/a?a=p&p=25593&cmd=sp&place=Emily%20Gap&file=Emily_Gap.htm
[7/21/2008 5:16:24 PM] Cristina says: arriving on the 14th
olgas on the 17th, 18th and heading back to Alice on the 19th
heading to Katherine on the 20th
[7/21/2008 5:26:42 PM] Marnie Orr says: arriving on the 14th
olgas on the 17th, 18th and heading back to Alice on the 19th
heading to Katherine on the 20thCheck out Emily Gap on way to Yulara (Uluru National Park)
Mon 18th - Olgas for the full moon, 18th.
Tues 19th - Re-stock at Alice (5hours drive)
[7/21/2008 5:26:49 PM] Cristina says: http://www.whatsondarwin.com/info/driving.html
[7/21/2008 5:27:10 PM] Marnie Orr says: arriving on the 14th
olgas on the 17th, 18th and heading back to Alice on the 19th
heading to Katherine on the 20th
[7/21/2008 5:27:48 PM] Cristina says: http://www.darwinfestival.org.au/index.php?option=com_content&view=category&layout=blog&id=35&Itemid=53
[7/21/2008 5:46:47 PM] Marnie Orr says: arriving Alice on the 14th
stay at Caroline’s on Mon 14th
make connections with artists in Alice on morning of Tues 15th
Check out Emily Gap on way to Yulara (Uluru National Park) on afternoon of Tues 15th
Olgas/Yulara on the 16th, 17th, 18th (full moon on 18th)
and heading back to Alice Springs (& Emily Gap if desired) on the Tues 19th (5hours drive)
Heading to Macdonnell Ranges or straight towards Katherine & Kakadu on the 20th
Arrive Darwin on Sun 24th to 28th
We are pilgrims through time
[7/6/2008 12:42:19 PM] Marnie Orr says: Read this:
[7/6/2008 12:42:34 PM] Marnie Orr says: http://books.google.com.au/books?id=i_w9eYtlsrsC&pg=PA18&lpg=PA18&dq=Pilgrim+identity&source=web&ots=xbiFvkq3JK&sig=1W0vTtRLS1JkK0HMZbhDjDq-Z1E&hl=en#PPA20,M1
[7/6/2008 12:43:41 PM] Marnie Orr says: On page 20, with the paragraph starting, "We are pilgrims through time" - talking about one person's experience of the desert and identity... very interesting indeed! Z. Bauman.
[7/6/2008 12:42:34 PM] Marnie Orr says: http://books.google.com.au/books?id=i_w9eYtlsrsC&pg=PA18&lpg=PA18&dq=Pilgrim+identity&source=web&ots=xbiFvkq3JK&sig=1W0vTtRLS1JkK0HMZbhDjDq-Z1E&hl=en#PPA20,M1
[7/6/2008 12:43:41 PM] Marnie Orr says: On page 20, with the paragraph starting, "We are pilgrims through time" - talking about one person's experience of the desert and identity... very interesting indeed! Z. Bauman.
'Places not are, they happen, and are by definition embodied' (Edward Casey)
[7/4/2008 6:50:17 PM] Cristina says: adaptation and creativity.. in terms of the mind as well as the brain...
[7/4/2008 6:50:27 PM] Cristina says: consciousness..
[7/4/2008 6:53:09 PM] Marnie Orr says: bOWEN tHERAPY LOOKS AT Biology & evolution. Having a response instead of a reaction. using neo-cortex rather than reptilian brain.
[7/4/2008 6:53:57 PM] Marnie Orr says: The brain stem being the oldest part of the brain. We would share our reptilian brain with lower order beings
[7/4/2008 6:59:38 PM] Marnie Orr says: i am here
[7/5/2008 8:08:32 AM] Cristina says: "place" refers to the location of the performance venue within the social space of the community and the historical and cultural resonance of this locale for the community in question.
[7/5/2008 8:10:10 AM] Cristina says: where am i ..really..
[7/5/2008 6:32:18 PM] Marnie Orr says: Places not are, they happen, and are by definition embodied (Edward Casey)
[7/5/2008 6:32:33 PM] Cristina says: both the performance space and the spectator's sensations are necessarily
"emplaced" ... and the emplacement is a dynamic part of the meaning
making process.
[7/5/2008 6:32:50 PM] Cristina says: pg 2
[7/5/2008 6:33:04 PM] Cristina says: just extracting favorites
[7/5/2008 6:33:07 PM] Marnie Orr says: you are here in my loung room with me
[7/5/2008 6:33:13 PM] Cristina says: same
[7/5/2008 6:33:35 PM] Marnie Orr says: and how place differs from country:
[7/5/2008 6:34:06 PM] Marnie Orr says: “People talk about country in the same way that they would talk about a person: they
speak to country, sing to country, visit country, worry about country, feel sorry for
country, and long for country. People say that country knows, hears, smells, takes
notice, takes care, is sorry or happy. … (C)ountry is a living entity with a yesterday,
today and tomorrow, with a consciousness, and a will toward life."
[7/5/2008 6:34:23 PM] Cristina says: i'm just orientating myself around this thinking..
[7/5/2008 6:34:24 PM] Marnie Orr says: ... Deborah Bird Rose, 2001
[7/5/2008 6:34:56 PM] Marnie Orr says: i am just embodying my brain around my muscles
[7/5/2008 6:35:12 PM] Marnie Orr says: IN my muscles
[7/5/2008 6:35:31 PM] Marnie Orr says: tendons blood spinal fluid
[7/5/2008 6:35:44 PM] Cristina says: ah.. plac
[7/5/2008 6:35:52 PM] Cristina says: place even
[7/5/2008 6:36:10 PM] Marnie Orr says: i reckon
[7/5/2008 6:36:53 PM] Marnie Orr says: "I don’t dance in the place, but I am the place."...
[7/5/2008 6:37:06 PM] Marnie Orr says: ... Min Tanaka, 1988.
[7/5/2008 6:41:18 PM] Cristina says: ah...what are his feet or body or place being supported by then..
[7/5/2008 6:41:50 PM] Marnie Orr says: surely it would still be the place?
[7/5/2008 6:42:40 PM] Cristina says: haha.. of course.. surely..
[7/5/2008 6:42:52 PM] Marnie Orr says: ...this is a pertinent question lasantolin...
[7/4/2008 6:50:27 PM] Cristina says: consciousness..
[7/4/2008 6:53:09 PM] Marnie Orr says: bOWEN tHERAPY LOOKS AT Biology & evolution. Having a response instead of a reaction. using neo-cortex rather than reptilian brain.
[7/4/2008 6:53:57 PM] Marnie Orr says: The brain stem being the oldest part of the brain. We would share our reptilian brain with lower order beings
[7/4/2008 6:59:38 PM] Marnie Orr says: i am here
[7/5/2008 8:08:32 AM] Cristina says: "place" refers to the location of the performance venue within the social space of the community and the historical and cultural resonance of this locale for the community in question.
[7/5/2008 8:10:10 AM] Cristina says: where am i ..really..
[7/5/2008 6:32:18 PM] Marnie Orr says: Places not are, they happen, and are by definition embodied (Edward Casey)
[7/5/2008 6:32:33 PM] Cristina says: both the performance space and the spectator's sensations are necessarily
"emplaced" ... and the emplacement is a dynamic part of the meaning
making process.
[7/5/2008 6:32:50 PM] Cristina says: pg 2
[7/5/2008 6:33:04 PM] Cristina says: just extracting favorites
[7/5/2008 6:33:07 PM] Marnie Orr says: you are here in my loung room with me
[7/5/2008 6:33:13 PM] Cristina says: same
[7/5/2008 6:33:35 PM] Marnie Orr says: and how place differs from country:
[7/5/2008 6:34:06 PM] Marnie Orr says: “People talk about country in the same way that they would talk about a person: they
speak to country, sing to country, visit country, worry about country, feel sorry for
country, and long for country. People say that country knows, hears, smells, takes
notice, takes care, is sorry or happy. … (C)ountry is a living entity with a yesterday,
today and tomorrow, with a consciousness, and a will toward life."
[7/5/2008 6:34:23 PM] Cristina says: i'm just orientating myself around this thinking..
[7/5/2008 6:34:24 PM] Marnie Orr says: ... Deborah Bird Rose, 2001
[7/5/2008 6:34:56 PM] Marnie Orr says: i am just embodying my brain around my muscles
[7/5/2008 6:35:12 PM] Marnie Orr says: IN my muscles
[7/5/2008 6:35:31 PM] Marnie Orr says: tendons blood spinal fluid
[7/5/2008 6:35:44 PM] Cristina says: ah.. plac
[7/5/2008 6:35:52 PM] Cristina says: place even
[7/5/2008 6:36:10 PM] Marnie Orr says: i reckon
[7/5/2008 6:36:53 PM] Marnie Orr says: "I don’t dance in the place, but I am the place."...
[7/5/2008 6:37:06 PM] Marnie Orr says: ... Min Tanaka, 1988.
[7/5/2008 6:41:18 PM] Cristina says: ah...what are his feet or body or place being supported by then..
[7/5/2008 6:41:50 PM] Marnie Orr says: surely it would still be the place?
[7/5/2008 6:42:40 PM] Cristina says: haha.. of course.. surely..
[7/5/2008 6:42:52 PM] Marnie Orr says: ...this is a pertinent question lasantolin...
Wednesday, July 2, 2008
Desert Trip - ... like the earth is open and the universe is right here
... like the earth is open and the universe is right here
internal mapping
recognizing my time in space according to the land
the height and variations of valley to hill
opening up a system - you're hacking into a system and changing it - UNSTITCHING COMPLETE SENSE
theta healing
felt sense - focusing
continuum
cranio-sacral therapy
Cris - understands theta healing as - the universe has access and it hears your call and is healing you. pure love
extra-therapeutic factors
is when they pull all the stats from all therapies - the part most helpful to clients, most healing is factors outside of healing - because you are seeking help.
strengthening human collective resolve in the earth
not healing the earth or sustaining ourselves through sustainability
its about adaptability..
how we adapt
interest in strengthening human capacity to change ..
spiritual, psychological and behavioural ability to adapt.. beyond the human body because we may not be here physically
directly related to this is beleif in people to be creative innovative and re-evaluate themselves, own needs and environment constantly
key word: creativity
issue: illusion of separation.. fundamental error in human psyche
Marnie doesn't sense a way forward through healing alone.. we need to look beyond the past and have some fun along the way
metaphor: walk hand in hand
internal mapping
recognizing my time in space according to the land
the height and variations of valley to hill
opening up a system - you're hacking into a system and changing it - UNSTITCHING COMPLETE SENSE
theta healing
felt sense - focusing
continuum
cranio-sacral therapy
Cris - understands theta healing as - the universe has access and it hears your call and is healing you. pure love
extra-therapeutic factors
is when they pull all the stats from all therapies - the part most helpful to clients, most healing is factors outside of healing - because you are seeking help.
strengthening human collective resolve in the earth
not healing the earth or sustaining ourselves through sustainability
its about adaptability..
how we adapt
interest in strengthening human capacity to change ..
spiritual, psychological and behavioural ability to adapt.. beyond the human body because we may not be here physically
directly related to this is beleif in people to be creative innovative and re-evaluate themselves, own needs and environment constantly
key word: creativity
issue: illusion of separation.. fundamental error in human psyche
Marnie doesn't sense a way forward through healing alone.. we need to look beyond the past and have some fun along the way
metaphor: walk hand in hand
Desert Trip - process unpacked
Meta-narratives –
Cris - Big blanket or patchwork quilt spinally interwoven. Each thread is finely intertwined. The signposts OR patterns or weaves are readable.
Marn - Word strings that have simultaneous meanings that we can apply to different levels of life.
I am interested to finely define
A fine practice
The cross-stitch and unstitching it and weaving it back together. New possibilities.
New definitions.
Wind activity
It brings the cause and effect to a readable forum through kinaesthetics.
The invisible becomes visible
The world can not show but point to it. Gives us a sense. Arouse a sense.
SENSE METAPHOR FRAME PORTAL LISTEN
Metanarratives is our starting point for process.
Unstitching is our process.
Cris wants to know more about Marnie’s interest in Cris’ psychotherapy writings (I think that’s what you meant)
Let’s look at boundaries.
Cris wants to ‘see myself in a portal, walking slowly towards camera'.
Isabella on Denton – interviewed as an elder. She wants to do something outside of herself.
Outside myself.
Knows this too well. Wants to come back into the frame. Within without.
Walking into the camera. Has that many horizons.
Take 45 minutes from a pinprick to taking up the whole screen.
Marnie wants to direct Cris to stay in the corner of the frame.
Cris wants to write back to Marnie.
Different from speaking direct. I love playing with words. Allows me to dip – into this legacy of what people have left behind.
Living outside of ourselves but also bringing things in.
Add to Itinerary:
We need a stopwatch / timer. And a whistle. I have a first aid kit and a special hyperthermia blanket that really keeps you warm too. Also we could do with a proper compass. I have a dodgy one. Also I have this cool compact screwdriver with pliers as a big pocket knife type-thing. I have decent map of the roads. A topographic map could be interesting but hard to get good ones in Australia. Not essential, just interesting for the creative mapping process. Plus we could draw on it.
How do I navigate surrounded by horizons?
Distort my time and being.
Try and find a name for the project:
- Unstitching myself inside out
- How do I navigate surrounded by horizons?
- Unstitching complete sense
Cris - Big blanket or patchwork quilt spinally interwoven. Each thread is finely intertwined. The signposts OR patterns or weaves are readable.
Marn - Word strings that have simultaneous meanings that we can apply to different levels of life.
I am interested to finely define
A fine practice
The cross-stitch and unstitching it and weaving it back together. New possibilities.
New definitions.
Wind activity
It brings the cause and effect to a readable forum through kinaesthetics.
The invisible becomes visible
The world can not show but point to it. Gives us a sense. Arouse a sense.
SENSE METAPHOR FRAME PORTAL LISTEN
Metanarratives is our starting point for process.
Unstitching is our process.
Cris wants to know more about Marnie’s interest in Cris’ psychotherapy writings (I think that’s what you meant)
Let’s look at boundaries.
Cris wants to ‘see myself in a portal, walking slowly towards camera'.
Isabella on Denton – interviewed as an elder. She wants to do something outside of herself.
Outside myself.
Knows this too well. Wants to come back into the frame. Within without.
Walking into the camera. Has that many horizons.
Take 45 minutes from a pinprick to taking up the whole screen.
Marnie wants to direct Cris to stay in the corner of the frame.
Cris wants to write back to Marnie.
Different from speaking direct. I love playing with words. Allows me to dip – into this legacy of what people have left behind.
Living outside of ourselves but also bringing things in.
Add to Itinerary:
We need a stopwatch / timer. And a whistle. I have a first aid kit and a special hyperthermia blanket that really keeps you warm too. Also we could do with a proper compass. I have a dodgy one. Also I have this cool compact screwdriver with pliers as a big pocket knife type-thing. I have decent map of the roads. A topographic map could be interesting but hard to get good ones in Australia. Not essential, just interesting for the creative mapping process. Plus we could draw on it.
How do I navigate surrounded by horizons?
Distort my time and being.
Try and find a name for the project:
- Unstitching myself inside out
- How do I navigate surrounded by horizons?
- Unstitching complete sense
Desert Trip - content
From: Marnie Orr [mailto:thebodyplot@bigpond.com]
Sent: Monday, June 30, 2008 7:13 PM
To: 'lasantolin@hotmail.com'
Subject: Desert Trip - content
Body-centred psychotherapy – attention to felt sense
“Focusing” book Eugene Gemlin – founder
Confronting
Just bringing me.
(me: I will drill you if that’s yr answer)
Bring camera – don’t have editing.
Camera is just part & parcel of this journey.
Lot of experience in groups.
Fully committed.
(me: What are u bringing to the table?)
This is not a job.
Let’s not talk about stepping up. Let’s just step up.
Environment reflecting back at me
This is a signpost. Been witnessed and now is reflecting back to me.
I want to step up to my light.
I would like to meet the universe back.
Still in annihilation mode.
Just be who I am. Getting to know myself.
Changing my identity.
Carrying an identity of shame.
I want to hold myself differently.
(me: the physicality of this is essential for us)
Re psychotherapy - Keep what I find useful and drop what is not
Portals and frames that I see myself in.
Interested in being more isolated – desert trip.
Meta-narratives
Metaphors of frame of ourselves w camera frame
How can the country be a portal
If we change the metaphor can we shape-shift?
Time management / time as an illusion
Awareness of the observer (of video) – camera is witness.
Witness response is not linear process thru time.
Connection can be made.
Synaesthesia – physiology & psychology
What makes Complete sense?
Metaphor is my forte.
Physiological knowledge of response compared to reaction.
SENSE METAPHOR FRAME PORTAL
Listen more – respond.
Listening body
How can we use listening as a way to facilitate a response
Using neo-cortex (the higher thinking) – if we are going to fuck up the synaesthesia, I can’t dissect the brain.
You can’t separate my brain response – my body involves my brain.
The skin –
I am using my body to get to my brain.
I can’t dissect my brain but I can dissect my experience.
Dr Watt!
Build up a repertoire or database of movement and sound and visuals… and word strings. “Mental furniture…”
Library of creative output that we generate is fed from sharing experiences. This part of the listening.
Meeting people is another log to the fire.
We are really meeting here.
Looking at diff levels of life.
Meet new elders/
We need a itinerary / budget / timeline-dates
Sent: Monday, June 30, 2008 7:13 PM
To: 'lasantolin@hotmail.com'
Subject: Desert Trip - content
Body-centred psychotherapy – attention to felt sense
“Focusing” book Eugene Gemlin – founder
Confronting
Just bringing me.
(me: I will drill you if that’s yr answer)
Bring camera – don’t have editing.
Camera is just part & parcel of this journey.
Lot of experience in groups.
Fully committed.
(me: What are u bringing to the table?)
This is not a job.
Let’s not talk about stepping up. Let’s just step up.
Environment reflecting back at me
This is a signpost. Been witnessed and now is reflecting back to me.
I want to step up to my light.
I would like to meet the universe back.
Still in annihilation mode.
Just be who I am. Getting to know myself.
Changing my identity.
Carrying an identity of shame.
I want to hold myself differently.
(me: the physicality of this is essential for us)
Re psychotherapy - Keep what I find useful and drop what is not
Portals and frames that I see myself in.
Interested in being more isolated – desert trip.
Meta-narratives
Metaphors of frame of ourselves w camera frame
How can the country be a portal
If we change the metaphor can we shape-shift?
Time management / time as an illusion
Awareness of the observer (of video) – camera is witness.
Witness response is not linear process thru time.
Connection can be made.
Synaesthesia – physiology & psychology
What makes Complete sense?
Metaphor is my forte.
Physiological knowledge of response compared to reaction.
SENSE METAPHOR FRAME PORTAL
Listen more – respond.
Listening body
How can we use listening as a way to facilitate a response
Using neo-cortex (the higher thinking) – if we are going to fuck up the synaesthesia, I can’t dissect the brain.
You can’t separate my brain response – my body involves my brain.
The skin –
I am using my body to get to my brain.
I can’t dissect my brain but I can dissect my experience.
Dr Watt!
Build up a repertoire or database of movement and sound and visuals… and word strings. “Mental furniture…”
Library of creative output that we generate is fed from sharing experiences. This part of the listening.
Meeting people is another log to the fire.
We are really meeting here.
Looking at diff levels of life.
Meet new elders/
We need a itinerary / budget / timeline-dates
Tuesday, July 1, 2008
Desert Trip - possible outcomes / process
From: Marnie Orr [mailto:thebodyplot@bigpond.com]
Sent: Saturday, June 21, 2008 3:12 PM
To: 'lasantolin@hotmail.com'
Subject: Desert Trip - possible outcomes / process
Hello Sweet Cris
I want to run a couple of ideas passed you.
I have a sense you & I would work very well focusing on investigating body-camera-country relation. And that all that we talked about this morning – parallels in language from different disciplines like neuroscience and shamanism and psychotherapy and Bodyweather would feed that investigation.
Whilst on the road from Adelaide (which is 1500km to Alice Springs by the way!) we create and explore body-camera-country by parallel processes of generating dialogue with each other/others whilst developing our physicality together. Build up a repertoire or database of movement and sound and visuals…
I envisage that we stop at various spots along the way and film ourselves and locals… we could interview people, we could organise to meet with some interesting professionals (say an opal miner in Coober Pedy, a geographer in ??? and maybe work out to talk with a tribal elder in Wolf Creek…)
Along the way I am seeing we stop for a day here or there to do an MB workout or just stretch, that then leads into setting up a small film shoot in the afternoon at an outback location… This work would feed our process in Alice Springs.
I am considering the possibility of leading a Bodyweather workshop in Alice Springs based on continuing this investigation into triangulating body-camera-country. This would give us time to develop our ideas physically and work with the camera with others. I envisage we would be editing at this time too.
This would be followed by a site-specific performance installation (in the desert somewhere or similar) or a video installation at a gallery. I am a member of the contemporary arts organisation in Alice called ‘Watch This Space’ so I am sure they would be keen to be involved.
I envisage that you would essentially be a ‘participant’ during the workshops, but that you and I could develop together activities that I or we could propose to the other participants. Or create a position for you where you just keep feeding into that process.
What do you say?
How does this sound to you?
Marnie
x
Sent: Saturday, June 21, 2008 3:12 PM
To: 'lasantolin@hotmail.com'
Subject: Desert Trip - possible outcomes / process
Hello Sweet Cris
I want to run a couple of ideas passed you.
I have a sense you & I would work very well focusing on investigating body-camera-country relation. And that all that we talked about this morning – parallels in language from different disciplines like neuroscience and shamanism and psychotherapy and Bodyweather would feed that investigation.
Whilst on the road from Adelaide (which is 1500km to Alice Springs by the way!) we create and explore body-camera-country by parallel processes of generating dialogue with each other/others whilst developing our physicality together. Build up a repertoire or database of movement and sound and visuals…
I envisage that we stop at various spots along the way and film ourselves and locals… we could interview people, we could organise to meet with some interesting professionals (say an opal miner in Coober Pedy, a geographer in ??? and maybe work out to talk with a tribal elder in Wolf Creek…)
Along the way I am seeing we stop for a day here or there to do an MB workout or just stretch, that then leads into setting up a small film shoot in the afternoon at an outback location… This work would feed our process in Alice Springs.
I am considering the possibility of leading a Bodyweather workshop in Alice Springs based on continuing this investigation into triangulating body-camera-country. This would give us time to develop our ideas physically and work with the camera with others. I envisage we would be editing at this time too.
This would be followed by a site-specific performance installation (in the desert somewhere or similar) or a video installation at a gallery. I am a member of the contemporary arts organisation in Alice called ‘Watch This Space’ so I am sure they would be keen to be involved.
I envisage that you would essentially be a ‘participant’ during the workshops, but that you and I could develop together activities that I or we could propose to the other participants. Or create a position for you where you just keep feeding into that process.
What do you say?
How does this sound to you?
Marnie
x
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