AN OUTLINE OF FORCES, PROCESSES, AND DYNAMICS

MOTIVATION FORMS STRUCTURE

Will is the transformation of energy into intention. The beginning of the process is through the recognition that we are already moving, have already been singing, have always already been here while also are already always leaving. The first glance makes the first impression and makes the most lasting imprint; everything else is perpetual forgetting, a unfurling of awareness back onto itself, a life of amnesia by material abundance.

ENERGY STRUCTURES OF THE UNIVERSE

NOTATION / TESTIMONY OF PROCESS / DOCUMENT

MUSIC FORMS

MUSIC STRUCTURES

BODY DYNAMICS

Contraction & expansion of the body on different scales: the body as a model for a universe of micro-macro concerns. "the skeleton is smart, it finds ways of moving that are not harmful". Movement forms: lengthening, cactus (juicy/firm/elastic quality with accents), contraction, rolling, inversion :: orientation to the grid: laterality, horizontality, verticality: dimensional propulsion & push/pull of gravitational forces.

embodiment of images or mimicry of forms: animal/plant/mineral: characteristic movements - opening & closing - heightening & shortening - fast jitters & slow buttery - floor & air - forwards & backwards

Translation

name = characteristic = mimicry = memorization through repetition :: sound form = "personality" form = movement form = memory form :: projection of self-as-name = projection of self-as-movement = projection of self-as-meme :: word = body = mind ::: the body as an instrument/device to absorbing memory from material.

HUMOR

The novelty/freshness/uncommon expression. Laughter of fear & laughter of joy. Will this wear away over time, through familiarity (is this the same as comfort)? COMFORT in the body vs COMFORT in the mind. The guide/mediator/observer/watcher: protection from danger: dangerous vs nondangerous situations. Transference of sensors, from eyes to hands to extension of the etheric double.

GROUND

Grounding with the eyes closed as a corporeal location: coordination is with the floor/ground. The gaze (even with eyes closed): the symbolism of upwards/downwards glances: variations on vulnerability - head up in ecstasy/release or head down in remorse/seclusion: the power pose of the natal/fetal position vs the power pose of the warrior stance: knees to chest for safety or knees extended for transparency. The power of touch :: the resonance of distance :: drawing with the eyes :: drawing from the body

****THE EXTENSION OF VISION INTO THE TACTILE :: BODY-INSTRUMENT OR BODY-SENSOR :: how it "feels" to be embodied :: how it feels to be observed being in the body

COSTUMING

FORM: Inspired by the traditional Japanese kimono, radiation protective clothing, foiled and pressurized space suits imagined as a continuation of everyday lifestyle garments (like yoga leggings, performance synthetics, day-glow safety colors and reflectors). The form should both hide the movements of the body while accentuating the functional aspects of the garment while also highlighting particular gestures as beacons, signals, "beams of focus"... the garment is activated with particular movements (specific poses, power positions, defense mechanisms, elementary non-verbal communication motions).

MATERIAL: No synthetics, no chemicals, only plant and mineral-based dyes and pigments. Numerous layers of alternating organic and metallic sheets. Some sheer layers, some perforated. Metals in brass and copper (warm metals) woven on a loom to make a kind of body stocking chain mail, very thin and lightweight, and also woven into other breathable materials that wick away moisture, regulate temperature, and conserve the energy resources of the body: this layer is knit from smooth and very thin copper/brass wire. Patina applied to the metals, with clean geometric shapes being maintained clean and high polish to make direct contact with the body and allow the suit to function as a biodynamic sensor circuit (ala Alvin Lucier, Lucky Dragons contact music, etc). Organic materials woven in a variety of coarseness: very thin lightweight material close to the body, thicker and more porous materials (like netting) on the outside. Loose or felted wool at certain fricative points in the body to build up static charges.

SCENE / CONTEXT / SET / ECOLOGY

VIDEO ENVIRONMENT

Animations: video mosaics as an immersive ecology of time-vision. Where does the gaze fall::: upon the self-as-body, upon the screen-as-body, upon the camera-as-eye, upon the I-as-eye:: eyes upon the screen make the body inactive: un-embodied / dissociated :: a group oriented towards a single focal point (the screen, the camera eye, the mesmerizing mirror (narcissistic fetishization), the self refracted through the myriad mirrored miasma :::: communicating via movement with self - mediated - is so much different than communicating via movement with an other (the other or others): how is it different?

SET ORGANIZATION

• cosmogonic symmetry of the transcendental gamelan orchestra

• the formal arrangements of a death procession marching band (the final scene in Kirosawa's Dreams)

• steps/plateaus/layers of transcendence that can be ascended/descended: temple, altar, funeral mound, axis mundi

• a central void & a surrounding galaxy: situated between everything&nothing

• geometric shapes of resonant forms: representation of the ideal-as-material/ecology

• the landscape of the body as the central scene: the universe birthed from