Lost and Found in Translation - Composing experience or how experience is composing us –

textfragments

Texte von: Katherina Bauer, Morris Berman, John Cage, Bonnie Bainbridge Cohen, Mariella Greil, Linda Hartley, Adrian Heathfield, Sabina Holzer, Kerstin Kussmaul, maRia Probst, Rainer Maria Rilke

amplitude, breadth, wide base.
yes.
and the breadth of experience and perception of a body in motion and touch has become more tangible.
yes.
very good. potential of moving. (process notes - Sabina Holzer)

There is thus a continually interweaving cycle of action, perception, and response. (Hartley, 1995, p. 249)

By accepting, not having to act prematurely, and not adding flames to the fire, just letting things filter through, the nerves little by little de-reverse until finally there is no reversal. It is no longer stored in the tissue. It means now you have a response instead of a reaction. (Cohen, 2012, p.180)


what is the part of language? what is the part of sensing? what is the part of feeling in this? (process notes - Sabina Holzer)

Although called "voluntary", the process of coordinating actions can be either consciously or unconsciously directed, and most of the actual sensory-motor processing occurs below the threshold of consciousness. (Hartley, 1995, p. 248)

are there “vowels” of touch?
(process notes – Katherina Bauer)




“Some thoughts on shifts and transitions: My parasympathetic inner focus embraces  a withholding of fluid motion. It can (slowly or suddenly) transform into (deliberate or un-designed) sympathetic stuttering. Only after a while it feels like arriving in free fall in the somatic field of connectivity.” (process notes – Mariella Greil)

What is possible in movement, can be experienced in touch. What is possible in touch, can be experienced in movement.
(process notes - Kerstin Kussmaul)

to translate the inside connections of the mover (process notes - Sabina Holzer)

What is the difference of translation, documentation and inspiration? (process notes - Kerstin Kussmaul)

 i am going under i am going under i am going under the tone
(process notes - maRia Probst)

tonus. tone. large traces of land. promising investments happening here. yes. very good. (process notes - Sabina Holzer)

the importance of resting in perceiving different layers of the world
(process notes – Katherina Bauer)

tactility. undesigned.
signed. sign. to sign, to act, to behave. 
misbehavior.
misbehaving dance.
a hand sign. a gesture. undesigned.
abandonment of sense.
sensing, writing, understanding. standing and falling.
standing and falling through writing, while writing. meanwhile meaning is happening. writing is just a trace. (process notes - Sabina Holzer)

translation of  a fragment (process notes - Katherina Bauer)

“Consider everything an experiment” (This is rule 4 in John Cage’s “10 rules for students and teachers”)

you do it your way. yes.
i do it my way.
yes.
you do it your way. (process notes - Sabina Holzer)

touching with the skin of my eyes (process notes - maRia Probst)   

i look. i come close. i touch. i touch the space with my eyes. i touch you. fleeting moments of touch. touching is connecting. looking is connecting. (process notes - Sabina Holzer)

We have to establish our support system before we can go to the next stage, a process which goes on for our whole life. From which place do we get support in order to be present? (Cohen, 2012, p.164)



not finished yet (process notes - maRia Probst)   

Undoing movement  and undoing form as incentives for doing composition” (process notes – Mariella Greil)

"The human drama is first and foremost a somatic one" (Berman, 1989 as quoted in Milz, 1994, p. 57)

"For the spectator, an aesthetics of duration is marked by an engagement with phenomenological time, with time as it is felt as a force and product of relational and inter-subjective exchange."(Heathfield, 2009, p. 22)

time is changing completely (process notes - Sabina Holzer)

"Auf meinen Atemzügen heben und senken sich die Sterne." (Rilke as quoted in Milz, 1994, p. 113)

" (…) one needs to move before one can have feedback about the movement (…)" (Hartley, 1995, p. 249)

Perception is made up of sensation and movement (cf. Noë, 2004)

Touch has a receptive as well an an expressive quality (process notes - Kerstin Kussmaul)

Territories of communication invading each other- don’t panic it’s all good!

(process notes – maRia Probst)

closing the eyes tracing invisible techniques
opening different territories of communication.
my body is my ecology. my social ecology. my plant ecology. i am balancing my ecology system. i am not the owner of this system, i am participating.
how to resist. exploitations. colonizations. identity nations.
 (process notes - Sabina Holzer)

“I find gestures of resistance in unexpected places, and I emphasise that a gesture is a motion of communication, and I remember that resistance is the opposition of one to another” (process notes – Mariella)

cellular breathing, like dreaming.
engaging in the senso-motoric dream-machine. (process notes - Sabina Holzer)

References

COHEN, B. B. (2012/1981). Sensing, feeling, and action. [S.l.], Contact Quarterly.

HARTLEY, L. (1995). Wisdom of the body moving: an introduction to body-mind centering. Berkeley, Calif, North Atlantic Books.

HEATHFIELD, A., & HSIEH, T. (2009). Out of now: the lifeworks of Tehching Hsieh. London, Live Art Development Agency.

MILZ, H. (1994). Mit Kopf, Hand, Fuss, Bauch und Herz: ganzheitliche Medizin und Gesundheit. München, Piper.

NOË, A. (2004). Action in perception. Cambridge, Mass, MIT Press.