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Errant Body Press
das Buch nicht als ein Container, den wir füllen müssen. Vielleicht eher davon ausgehen, dass da schon was steht, that the pages have already started to be, how to disclose what is already there?
attending also to the materiality of the pages, of the pastes of turning the pages. Are there some pages that are verklebt, that hold together?Are there different kinds of papers?
co-writers: the paper the ink traces of thoughts expressed in words by Lisa densem, miriam jakob, jana unmüßig,
or all in dialogues?
or rather trialogues (e.g. lisa, du, ich / marten, du, ich)
auszüge aus den interviews mit martial, petra etc.
allem in allem 30 seiten?
8.4. Notizen während dem Interview mit Martial:
“sich in der Spannung kennenlernen” Rosen Ausbildung: “eine lange Ausbildung der Hand”
“Das Wachsen der Emotion ist ein langer Prozess”
“was Trauma mit dem Körper macht”
“normaler Atem, der der sich verändert” “normaler Atem passt sich dem Atem an”
“ich suche nach der Stelle, wo ein Gefühl von Kontakt entsteht”
30.3.2021
topics/questions to be addressed: overall question: How to write about breathing as artists/artists-researchers? What status has theory in our thinking? How do we define practice? What is the relation between theoretical references and what we identify a practice?
More specific subquestions / topics: breath as a phenomenon that connects humans and more-than-humans: referring to people that think explicitly about breathing: text of ingold, gorska? In which body does breath appear? How do we describe the human and more-than-human body? From which position do we think both, breath and body?
10.12.20
Thinking out loud (no editing) after the presentation yesterday
- i had an emotional need to come a bit closer for this presentation at HZT, after the experience of Tanznacht. I really liked the presentation yesterday. It felt almost healing. I can say this now because I have realized that the Tanznacht presentation was kind of harmful. i dont want to unfold much on my feelings around tanznacht now. but I think it why I bring it up is because I think it is important to speak up when presenting work does not feel right.
- it felt really great doing the abécédaire with you! DANKE. it was really interesting to understand that we had no big conversation or fight or what so ever in committing to the words.
- the question of space in your work and the question of space in my work; in particular in relation to 'older'works. I found that an interesting comment NIk brought up. I was thinking later that I think I can see how a concern fo space has been in our repsective artistic pratcies in the past. space making is important to me.
- the abécédaire as structure.it would be nice to publish it in the research catalogue cause there you can spread it out more. less linear - up to down - but more like a map.
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I am a survivor.
die Behutsamkeit auch in der Sprache, die sich wie ein Film auf einen legt.
I don´t need to keep it up.
der Atem entzieht sich dem Willen.
Die Tischplatte war schief.
Mein Körper wie ein 3D Print, eine Landschaft aus Hügeln, Bergen und Tälern.
I need to sense my body in order to make sense of all the different locations the puzzle pieces fall into.
Bestimmte Pfade und Muster heben sich sehr klar hervor. Diese Klarheit wiederum […] wie eine Anerkennung dessen, was ist ohne sofort verändern zu müssen.
20.11.20 Yann Moulier-Boutang; intro to Cognitive Capitalism https://www.youtube.com/watch?v=tzQTZGFcfT0
Miriam@Jana: nach unserer kurzen Schreibpraxis ist mir dieser Satz geblieben “I am a survivor” Ich habe dazu letztens einen Post auf FB gesehen: https://www.youtube.com/watch?v=ZeBuP7VCJyM&fbclid=IwAR3EibJxZfYwV18M_QQNVeE5ksRiqi4O0acw-c5mXpMxh7nNhWnpkuDt3qQ