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"new materialists need to move beyond matter (regardless of how dynamic and complex) as the primary locus of their analysis to focus on movement itself as the source and telos of life" (LaMothe 2016:34)

 

 


"When scholars understands that bodily selves are movement, that this movement occurs as a rhythm of creating and becoming patterns of sensation and response, and that humans can develop the capacity to participate consciously in this rthythm, 'then religion' appears within human history as a place where humans learn how to develop this capacity. With this shift, new resources emerge for conceiving spiritual and material dimensions of bodily life as interrelated expressions of an ongoing rhyth of bodily becoming." (Ibid)

 


Voicing can never be body. Can never be. Can never be separated. Body From mind. The rythmical bodymindbreath as a learning in process can be cut and diffracted, but never separated. Even if we think this is possible. Behind our backs everything continues to move. We think we are lost but this is not the complete answer, because a complete answer is never to be found. Only through cuts can phenomas be defined. But there are never ending answers.

Following the written communication in the historical manuscript, I start to search for colours and rests. There is never a rest to be found. Not even when a rest is indicated through hidden codes in the lyrics, in the dynamic presentation created by the 400-year old hand, in accents and ornaments etc. The rest itself calls instead for a moment of sensory awareness of silence in the potential lingering through the air. Through the silent periods - when air is filling bodymind with new life - the harmonious reverb echoes and rythmically vibrates in space where silence/sound continously is activated as movement. The non/voice is not matter, but emerges continuously. It is here the potential meaning-making of ornamentation as an act of living make sense. Learning to ornament - to curate and to care for - is therefore a method applicable in various forms of living. A never ending ornamental living. Including both dissonancing and love. Ornamenting as an act of voicing and living becomes an intra-acting meaning-making process. A methodology applicable to living.

Again and again I allow the sound to live. It is a trans-active  movement growing more and more intense, the more sound itself finds its space inside the vibarting bodymind.  I may not focus too intensely on the score, not trying to represent the score, but always allowing... allowing... allowing... until sound makes more sense than my own existence.  The experience has no beginning nor end. No limits nor thresholds, borders nor obstacles. Yet, resistance is there in every turn, every angle. As a wall. As a mural. As a dissonance. In the slidings I lean toward the force of life itself. I lean into the entangled non/voice that only bodymind self is aware of. Allowing to be touched. Allowing to encounter touch itself. Singing  becoming a spiritual mattering meditation.

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