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+.2.\\
+Welcome\\
+Jahres Programm KF- kurz was haben wir untersucht\\
+Worum geht uns in dem Projekt in 2 Sätzen\\
+Multidirectionality/ different voices, EInladung der anderen Künstler*innen\\
+Verhältnis Individuum-größerer Kontext/ Rhythms/ Oszillieren-meandern anstelle von progress\\
+Nearby Breathing- atmen als form von sensation, state zw loslassen und sich selbst in seinem rhytmus zu beobachten, belassen, das in den kontext von research u artistc research, wie ein Ausgangspunkt für verschiedene experiemnetelle choreograf. Anordnungen/Versuche, wie kann man eine Verbindung/ Kommunikation in einer kollektivität hervorbringen kann, zwischen sensing-knowing, difference without separabilty, de-hierarchize different knowledges, Zulassen von eignen tresholds, tension, frictions auf einem experience personal bodily, ecological felt sense teil ist von dem verbunden sein\\
+Gleichzeitigkeit von personal (vulnerabilties, history) and artistic Process
+.2.2022\\
+During our research process of Breathing With we have been busy with the question of what we are sharing/offering to our audience. Why "other" people should partake in this experience..
+In various conversations we had during these two years with different colleagues it had been a re-ocurring subject that there is a certain ambiguous tension in between the therapeutic and the artistic in our project/practice. Breathing in itself is not artistic practice (rather an everyday experience), at the same time we withdraw from making it a therapeutic practice. We came to terms with the idea that it is an affective rather than an effective endeavour, meaning that we are not following a certain aim with it. To use Breath(ing) in our practice is for stimulating/ activating an availability for affective connections to other people or to the world we are part of, yet it goes contrary to the therapeutic in a sense what kind of result it should have. It rather requires a certain attendance and a certain way of listening to oneself and to others.
+In this regard we often touched upon the notion of "opacity" in the way it is used in the context of Glissant. We had a difficult time with applying this concept to our artistic practice as Glissant wrote from the position of a decolonial subject and its inherent emancipatory potential: as an atonym of transparency it questions the possibilities of (intercultural) communication. Recognizing difference does not mean understanding otherness by making it transparent, but accepting the unintelligibility, impenetrability and confusion.
+So opacity tries to overcome the risk of reducing, normalizing and even assimilating the singularities of cultural difference by "comprehension" as an act of appropriation. "Opacity, instead, offers a de-hierarchized world-vision as well as a discourse complementary to universal or systemic approaches to globalization. It reflects on uncontrollable “confluences” and an increasing intermingling of diversities, both of which oppose monolithic worldviews.  It has to be pointed out, though, that ethics and aesthetics are intertwined in Glissant’s writing, so that his essays cannot be reduced to political claims alone (cf. Britton 1999; Kuhn 2013). According to his Poetics of Relation, literature, as a medium, is best designed to foster a communication characterized by opacity. In this fashion, the Caribbean writer also approaches opacity by practicing a poetic style. Thus, his writing embodies the movements and processes of multidirectionality from which his theory of diversity evolves. Like transcultural identities that cannot be essentialized or tied down to one origin, the practice of opaque writing produces a multiplication of directions and meanings." (Quelle: http://www.transcultural-english-studies.de/opacite-opacity-edouard-glissant/)
+\\
+This multiplication of directions and meanings, to embrace the confusion, is something I feel kinship with. We were using the figure/ movement of meandering when applying our thinking-writing-reading nearby breathing. Jana once said in a conversation (answering to the question which role the theoretical plays in our artistic practice) that theories and concepts are like acquaintances one likes to visit once in a while. Someone/ Something you like to hang out with.Something you like to think with...for me when referring to theories and writings of others it is also an unsettling of my own position. Theory can be a kind of a rebel in that sense, that reminds you that something more is always out there and it is worth pursuing it. Especially when it comes to privileges and the question of how you have to take care or how you don´t take care of certain things or how certain people can simply not afford not to care...
+When thinking about white privilege in a nutshell: it is the privilege not to have to think about things that slowly kill others (thinking in long terms: beginning of capitalism through slave history)...the work of theory here is to give sense, making palpable the reality of that violence, how it stretches over peoples life
+\\
+What has this all to do with Breathing? Coming back to the meandering gesture, the movement of inquiry is that of drifting, that doesn´t want to locate itself, constantly drifting between different references & voices and also does not take up the individualised position of the artist. Coming back to the idea of confusion --> in analogy of air, breathing Verwirbelungen, swirling around..\\
+What might create the confusion/ opacity is the fact that we want to use breathing in a metaphoric sense (letting different voices and ideas relate to each other, "creating air" between these), at the same time paying attention to ones breathing that is always a very personal, psychological, or psycho-somatic experience. Where one holds their breath, where there is no movement to let breath come through, speaks of experiences of each one´s own history, that might be traumatic. In these session (of Rosen method and perceptible breath work) I learned to attend to my breath, letting it "speak for itself", not trying to control it or immediately change it. Attending to it also means to acknowledge that there is pain and wounds and being confronted with my resistances, tensions and limits.\\
+Offering the practice was first of all an outcome of this pandemic times when we were unable to travel, not being able to meet in a physical space. It was also an attempt of being connected to each other and disconnect at times from our images on the flat screen, guiding us through instruction led by our voices and having a sensation of being connected. When we did it for the first time in a physical space...--> emancipatory potential of offering these sessions in an art institution and not in a therapeutic/bodywork/somatic context- to embrace each ones vulnerabilties without psychologizing it...letting it partake in this "Bigger event"
+\\
+.August\\
+workshop/ performance presentation
+In meandering nearby breathing (physical edition) Jana and Miriam will test our/ experiment their reading/writing/breathing practice alongside these activities with a collective group of people in the same physical space...alongside the questions: how to create a space that can hold and share different activities and modalities of knowing, understanding and sensing at the same time, layed out horizontally..
+.August 2021\\
+Gespräch mit Christoph vom 18.08.- ein paar Wörter, die hängen geblieben sind\\
+zwanglose Ziellosigkeit\\
+research catalogue: sehr haptisch-materiell, horizontal\\
+leerer ausgedehnter Raum, der Logistik überbrücken muss\\
+Eine Form von Ent-wertung\\
+wirksame Fiktionen
+.Juli 2021\\
+Ideensammlung Radialsystem
+ich stelle mir den Raum vor als eine Landschaft mit möglichen Stationen, bisher gibt es eine Listening Station mit dem Membran von Signe...(mehr wird hinzukommen)
+Und durch diese Landschaft "führen" wir (Jana, Lisa, Miriam, Sumi?) das Publikum..dabei fände ich es spannend mit diesen Satz von meandering nearby breathing aufzugreifen "This is a series of beginnings", wobei es nicht in dem Sinne jedes mal von vorne beginnt, sondern es eher um die Idee von AUftauchen (Emergenz)..also z.B. dass sich eine SOundcollage schon andeuten kann - so bisschen die Richtung, die wie mal angedacht hatten für die Präsentation im April: eine druchlaufende soundscape, in deren Verlauf etwas in Vordergrund tritt, etwas anderes eher in den Hintergrund aber immer noch anwesend ist.
+Wir vier (oder drei) würden manchmal zurückgenommener sein, und manchmal wieder ganz viel Raum einnnehmen, aber in dem Sinne während der ganzen Zeit nie im "off" modus..
+Mehr dazu morgen ;)
+\\
+---------------------------------
 Ich fange mal mit ein paar Fragen an, die mich beschäftigen:
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 wenn sich innen etwas verändert, verändert sich das System, etc..eher eine Art Gefüge, das immer in Bewegung bleibt\\
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+.3.\\
+https://journals.sagepub.com/doi/full/10.1177/1357034X20916001\\
+**On Breath and Breathing: A Concluding Comment, Tim Ingold**\\
+"For a being that breathes out and in, should we not add to embodiment its complement of vaporisation? Breath, after all, is fluid, animate and fundamental to human conviviality. While it can temporarily be put on hold, **breath cannot be contained.** [...]
+The Soul as a vortex in which breathing, thinking, speech and song all flow into one another --> Hier musste ich noch mal an die Verwirbelungen denken -> Vortex! Vielleicht eine Verbindung zum Mobile - sobald sich das eine bewegt sich das andere\\
 _______________________________
+.3.21\\
+Lecture von Tim Ingold: TRAINING THE SENSES\\
+https://www.youtube.com/watch?v=OCCOkQMHTG4\\
+Listening and Feeling are one and the same thing -> **correspondence**: we are **going along together with** whatever is occupying our attention \\
+Difference between interaction and Correspondence. Interaction: the person is located in a point wrapped up in itself. Correspondence: Living Beings are carrying on as movements through time, **carrying along together** -> hier musste ich an Co-Carrience bei Brache Ettinger denken\\
+\\
+Thinking of **attentionality** rather than intentionality: Literally to attend means to stretch out towards sth, Bringing the movement of the other into correspondance with your own movement -> Re-think the relation between intention and attention, attention is always waiting upon, responding to the other that you attend, an ongoing movement\\
+\\
+Distinction between joining up & **joining with**: carrying on, correspondance of paths in an ongoing process of life. Dagegen joining up of separate elements -> ASSEMBLAGE of Parts - and-and-and- in a conjunction you are joining things up. CORRESPONDANCE: with-with-with, going along with one another, a sympathetic union rather than external conjunction holding things together...\\
+\\
+**Simondon: Individuation** -> an ongoing process of establishing once own identity vis à vis others but as an ontogenetic, developmental process, one is never complete but alway ongoing - but it is a growing apart as from the inside\\
+\\
+**Tacit knowledge**: is not settled, notsubterrenean (sunk into the body as a sediment, when social scientist talk about embodied knowledge), deposits itself and becomes unconscious. **Rather Tacit knowledge is a movement**, if you think of an archipelago of islands, the currents of water is the tacit knowledge that is not explicit, what´s making the noise is the tacit stuff, that is flowing around in the eddies, in-between --> Und hier wären wieder die **Verwirbelungen** -> we have to think of the body not as a place of stasis, as a sink but as a place of great turbulence (even the mind and the soul), an eddy, a vortex that is moving, a place of great unsettledness- sound is always swirling around\\
+\\
+Breath are like thinking moments where you take the world in for a while, there´s a relationship between thinking & breathing- in our society we are taught to denigrate the pause..it´s the pause that brings thought to life.\\
 \\
 Bereits Frantz Fanon hat in Black Skin, White Masks darauf hingewiesen, dass es gerade nicht nur um die kulturelle und symbolische Dimension der Atmung geht, sondern auch um die materielle, ökonomische Grundlage. Der Historiker Jürgen Martuschkat spricht in seinem Text „I can´t breathe. Atemnot als Normalzustand“ von einer anhaltenden Praxis der Eigentumsdiskriminierung. Atemnot, so schreibt er, ist für POC in den USA der Normalzustand.