Key concepts:
Listening (Nancy)
Resonance (Nancy, Escande)
Somaesthetics (Shusterman)
Feeling-with, sympathy (Spuybroek)
Interacting forces and resonances of a dancer-staircase organism:
The study attempts to capture interactive forces and resonances activated (primarily by the body-stairs) in the crawling descending movement of the dancer.
Interacting forces of a dancer-column organism.
Force of line echoes the forces of encounter and resistance between corporeality of dancer and that of column.
In medi(t)ation: Vibratory forces and resonances of a body-room oganism:
The series of studies foregrounds felt vibratory forces and resonances (inter)active in a duration of spacetime (light, sound, noise, air currents, external and internal (body) physical vibrations, heat, fleeting thoughts, etc.).
Pedagogical Translations:
See page X4 section A.1: Seeing and Perceiving
Vibratory resonances of façade on a rainy day.
The drawing tracks the qualitative sound, light and air variations playing off the architectural interface (facade) between outside and inside as it reverberates through the body.
.T-Sketch: Transversality
What if line wasn’t yet on the move, was always already (not yet) there welling with the movements of the world; the trace, its (fore)shadow resonating with them? The surface, a bundle of unstrummed lines throbbing with futurity, like the nerves of an amorphous string bass, fidgeting, waiting for currents to pass; anticipating in stillness: somewhere between arrest and motion in the threshold of a generative potential, between multiple planes of vibratile intensities. Many infinitely topological surfaces nested one into the other, from cosmological thickness to microscopic infrathinness. What is to s(t)imulate/differentiate the infrathin surface from line, the trace from its shadow, the building’s walls from the architect’s drafted lines? Or for that matter, the North star’s from the honeybee’s waggle dance; the seafarer’s from the fruit fly’s, lobster’s or whale’s navigational constellating, diagramming; the zodiac from the spider’s web? Is it scale or is it time: the duration in-weaving the movements of worlds already inscribed transversally across layers; the way it is absorbed back into line to resonate elsewhere? That might explain how drawing can generate such intensive-extensive experience, pass-on and amplify the affective movements of the world, always qualitative relational relays in shared deterritorializations: traversing concurrent, occurent diagrams…
The transversal surfacing of a world into drawing, occurring as a snowballing bundling tumbleweed of migrating dormant lines shedding its shadows, stringing and mobilizing worlds on its traversal; snagging itself on the pass, fraying fringes on every celestial, crystalline deviation: sharply beveled edges, absorbing and diffracting, refracting interior-exterior-interior, actual-virtual; catching its reeds in barbwire hedges, dragging behind its loosely snagged filaments. Only the tumbleweed can free the prairies from the iron grip of blade-ridden, electrifying barbed restraints: immobilizations, parcellations. Only the nomadic tumbleweed can ride the flows of howling winds, electrical currents, magnetic fields and incorporeal fluxes, deflecting on a whim; hop across fields, fielding potentials; transduce percussions of ephemeral crystalline encounters into multiple fractal lines of flight; cast its tangled stems across the plains, planes; speckle seeds for future germinations. This may be why drawing has no beginning or end, why form cannot be fixed.