michael j. morris


Permeability, “chorecography,” In-corporation, etc.

I don’t really have time to be blogging. But the last few weeks have presented several opportunities for collaboration with some of the artist/scholars I admire most in the world. This has been a significant catalyst for coalescing some of my own ideas about my work, the direction of my research, and the germinating ideas that might form the connective tissue between dance practices, queer theories, ecology, Tantric philosophy, and my interests (specifically) in yoga, Butoh, the Love Art Laboratory, Sexecology, Ecosexuality, and the work of Karl Cronin. This is fairly raw brainstorming, but I think some ideas are finally beginning to mesh in such a way that they might then be interrogated, deconstructed, and applied to creative (and) scholarly practices.

The central issue (at the moment) seem to be permeability, specifically the permeability of the body. An interest of mine in the field of dance is how dance practices, especially choreographic practices by which the formulation of the body is a collaborative endeavor necessarily incorporating the participation of (a)other(s) beyond the seemingly persistent “individual,” is a practice in/of/as permeability, transformability, interdependent functionality, and the erotic.

The assumption on which many dance practices are predicated is that the body is not “fixed” but is necessarily not fixed (even as many dance techniques can assume the form of “fixing”–correcting, but more importantly, constraining, consolidating) in order to formulate a new, specific dancing body, fully contextual within the practiced and performed dance work. It is a practice that in the history of the body, but does not view that history as fully constrictive or deterministic–it is a malleable set of constraints, and dance practices in which additional, intentional information is provided the body in order to facilitate its (re)formulation become practices by which that malleability is engaged. Because the body (an admittedly complex and somewhat elusive term, both material and discursive) is the site/nexus for the assumption of identity/identification, sex, gender, sexuality, and subject-hood in the process of performative reiteration, the permeable, transformability/malleability of the body assumed in (some) dance/choreographic practices has potentially radical implications.

Dance (especially choreographic) practices are often necessarily interdependent, practicing the meaning or significance of the body to be (formulated) beyond the individual or morphological boundaries. These practices emphasize a systemic functionality/”definition,” reorienting the experience of the body/self and its situation into the inclusion/incorporation of other necessary participants (even the solo dancing choreographer is the demonstration of the sedimentation of a nexus of citations that reference the participation of others through which the (present) body takes on its form). This interdependency is where I identify a ready correlation with ecologies and ecological analysis, giving attention to the ways in which dance practices (and perhaps even the cultural and social constructions surrounding dance practices) function as systems of interdependency, and dancing bodies and that which is produced by and simultaneously formulates those practices. There is room here as well for the consideration of the movement of power within these potentially imbalanced systems, how interdependency does not necessary (and does rarely) suggest egalitarianism, but instead suggests the mobility of power across relations of imbalance and dependence.

Incorporation.
In-corporation.
This word may become significant. It is in direct dialogue with my Tantric understanding of “recognition.” This can be potentially deconstructed, the similarity/difference between the incorporation into the self and the recognition of the “other” as not separate from the self.

Dance, choreography, chore(c)ography (love this–suggested to me in a recent email from Catriona Sandilands . . . chorecography . . . there may be something there) is a perpetual practice of incorporation, not in the sense of colonization, but in the sense of synthetic exchange and the interdependent formulation of bodies.

This is what I might (presently) identify as the eroticism of dance practice/chorecography: the space of lack/desire that compels the practice, the necessary interdependency and the mobility towards that interdependency. To be clear, lack does not necessarily denote desire (eros), but desire is necessarily predicated on lack. The eroticism of dance practice is what I might identify as “generative lack” or “constructive lack,” as opposed to a lack that functions as the definitive outside for non-lack.

Returning to the “central issue,” this permeability might also be identifiable as the “queer(ing)” element of dance (choreographic/chorecographic) practices. The assumed non-fixity of the body, the permeable pursuit of new corporeal possibilities, perhaps the ambiguity of the exchanges within these practices, seem inherently non-normative or even anti-normative (even, as I mentioned above, when dance practices function simultaneously as normalizing utilities, such as the ballet lessons potentially contributing to the “docile female body,” or competitive athletic dance forms potentially becoming yet another site for the defensive reiteration of (impermeable) masculine identity). I am not sure that “queer” itself suggests a concern with interdependent systemic functionality (ecology) (although it may . . . the permeable, while not intrinsically “erotic,” does lend itself to it; and “queer” and “erotic” may share a coalitional affinity of abjection; ecology may be intrinsically erotic; thus . . .), but “queer” definitely offers a manner of approaching the examination and consideration of ecological relations, and this approach may be qualitatively similar the the approaches of many dance practices.

Other thoughts:

This week in conversation with Karl Cronin, Karl discussed the difference between the big “I” and the little “i”; the big “I” suggests the individual is not so bounded and discrete as we might think, but instead is an active participant in a larger “organism” in which the subject is always implicit. This immediately connected to my background in Tantric philosophy, and the affirmation of diverse expressions of a common unity. This is further situated in David Abram’s writings about the situation of the human subject in constant sensorial reciprocity with the more-than-human world. In Tantric philosophy, especially in Kashmir Saivism, all differentiation and diversity emerges from the common source of Consciousness. In dialogue with contemporary philosophies of embodied cognition and the embodiment of perception, it lends itself to the body as far more expansive and inclusive than it neatly demarcated by our presumed physical morphology or even our normative discursive description of “the body.”

In preparation for my second comprehensive exam, I am also re-thinking the work of the Love Art Laboratory, specifically their ecosexual performance weddings. In addition to the themes of ecosexuality, and the engagement of the Earth, Sky, and Sea as Lover, I am beginning to contemplate the formal structure of these performances, their intensely collaborative structure/infrastructure, and the formal suggestion of union/unity and diversity/disparity. The wedding itself is a ritual of unification, and its performance in the work of LAL is a non-normative performance of a normative regulatory device. The wedding ritual itself is queered by the manner in which it is carried out. While Annie, Beth, and their Earth/Sky/Sea lovers function as a focal point for the event, the production and performance of the weddings are intrinsically plural(istic). They take the form of performance art variety shows in which many, many artists are showcased, all for a shared purpose. Individuals cycle through the roles of performer and audience. The unification that is enacted (recognized? formulated? in-corporated?) in these wedding rituals is accomplished through shared political, social, cultural, artistic, environmental (etc.) intentions, and is enacted through the community of attention and appreciation, in which viewers become viewed and viewed become viewers. There is a cyclical exchange between the foreground and the background (that which is seen and that which is “unseen” that allows the “seen” to become visible), between subject and object, and it is in the cycle of this exchange (I may go so far as to relate this to spanda) that distinction becomes blurred and the fundamental unity across disparity is enacted/recognized. There is also something in the act of offering . . . I haven’t figured out the implications of this yet, but I feel like there is something to be theorized in the act of giving performances and attention to one another, the erotic spaciousness in a generous observation/attention/gaze.

Need to get back to reading. Going to see Pandora Boxx perform at Union tonight; seeing the show with family.
Happy Sunday.

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Erotics (eco-logic)

This is not going to be my most eloquent post, but I’ve had ideas spinning around the notion of “eros” and “the erotic” for a while now (years?) and I think it might be developing into something a bit more effable, but I think I just need to get the ideas down.

I think my earliest encounter with the speculation on “eros” was with Anne Caron’s Eros: The Bittersweet, still one of my top recommended reads. Carson is a professor of classical literature, and Eros is her formulation of how eros functioned within Greek lyric poetry and thus how it might be considered to function within interpersonal relations. She explores the evolution of a literary culture’s impact on the senses of those engaged with that culture, a bounding, an edging and delimiting in the conception of the individual, concurrent with these lyric expressions of the sweetness and agony of eros. In her formulation, eros is desire that denotes lack: it is that which we do not have (or, she goes on to formulate with certain Freudian tones, that which we no longer have, that which we perceive to have lost), and the sweet-bitterness of eros comes in that agony of not having. We can no longer want that which we have, because wanting is itself predicated on lack.

I employed Carson’s text in a paper I wrote recently exploring theorizing “Sexecology” and “Ecosexuality” as it is performed in Love Art Laboratory’s Green Wedding Four (2008). In this paper, I began to explore the possibility that the erotic is a state of contingency. It is a state of empty spaces, spaces of lack, that seek to be filled. I correlated this with collaboration, that when we allow ourselves to collaborate, as artists, as researchers, as people (relationships themselves might be viewed as collaboration), we are actively engaging with those places of lack, perhaps even forming or formulating spaces of lack in order to find compliment from those with whom we are collaborating. It is an intimate exchange, it is a space of varying degrees of vulnerability, because in bearing our lack, we relinquish portions of our control. We ask to be filled by another, and coextensively, we do our part to fill in and meet and complement the places of lack presented by our collaborators. The product is necessarily unpredictable, indeterminate, and emergent. I don’t mean to imply that in all collaborative settings the distribution of power is equal and balanced; I think of settings in which I have functioned as a choreographer or director. There is a collaborative experience with the dancers in the work because the work would not be possible without their participation, and certainly the dancers bring their own personal and creative energies to the work. But the power is not balanced: I maintain a degree of control that extends beyond that of anyone else in the project. There are of course nuances throughout, but what I mean to address is that in this discussion of collaboration being predicated on a kind of erotic exchange between lack and complement, I am aware that power is imbalanced, potentially in flux, and rarely distributed equally.

This is where I begin to equate “collaboration” with “ecology”–it is not a perfect equation, but a functional one. Ecology (etymologically “the study of habitation/dwelling”) is predicated on “situation,” situation being necessarily complex, reciprocal, and potential systemic. For my purposes, I tend to shorthand “ecology” as the study of functional systems of interdependency. The jump to “collaboration” is not far. What I think I’m getting at is that the functionality of ecologies and eco-systems (systems of habitation, situation, which, again, are necessarily reciprocal; habitation is not passive) depends on complement, which depends on spaces of interdependency and lack. This in itself seems to evoke the erotic to me, but I think there may be yet another step. For there to be lack and complement, in itself, may not be erotic. Instead, it may be the sensation of that lack and complement. Is eros a sensation or a structural/systemic relationship/state, both or otherwise? Not sure.

I think our culture carries an anxiety surrounding “lack.” Perhaps it is simply the modern humanist individual, perhaps it is even reinforced by feminist projects that have deconstructed the conceptual/social/sexual dependence of women on men, but we shirk away from dependence (inter-dependence, co-dependence) towards notions of independence, that we are each our own, complete, lack-less, need-less, individual. I not only find this to be a tad bit inaccurate, but not helpful. I remember talking to Annie Sprinkle and Beth Stephens in December, and their discussion of their move away from the “modern genius” individual artist to collaborative work, because there’s more possible when you collaborate. I think I am theorizing this draw towards the “more that is possible” as the erotic. It softens at its edges, it expands and becomes fluid, willing to mingle and mix and exchange; it is porous and permeable, and accepts the risk of that permeability (the risk of “pollution,” perhaps). There is a danger to the erotic, to exchange, and collaboration; to no longer being in control. Catriona Mortimar-Sandilands, among others, has written exceptional writing addressing the correlation between environmental projects such as state parks and “nature reserves,” the project against pollution of the “natural environment” (need I remind myself that to inhabit is not passive, but is already an exchange?), and the medicalization and defense of bodies, the fear of the polluted body, the dangers of sex and exchange of fluids and the solidification of the edges. It is a complex question without (for me) a yet clear trajectory (I can see it pertaining to questions surrounding sex work, pornography, safer-sex practices, contact improvisation, localvore food cultures, etc.), but there is something about an acceptance of the permeability of edges, spaces of lack within our borders/boundaries, and the invitation for exchange across those edges in order to complement those spaces of lack. I call this ecology. Or eros. Or sexecology, or ecosexuality.

This relinquishing of (some) control/power connects to another conversation I recently had with Daniel Holt. In discussing his Guerilla Dance Project, I began to identify with a certain desire to not be completely in control. In other words, I noticed and identified with a need/desire (lack) to create work for which I (or one) is not solely responsible. I think this tendency fits into larger meta-narratives: for instance, the post-modern shift away from the single generative choreographer (prevalent in early modern dance) towards sourced-materials (dancers generating movement material to be shaped/crafter by choreographer) to collectives and improvisation (Grand Union, etc.), and even (what I have been referring to as) indirect methodologies for movement generation: methodologies that do not dictate movement from one body to another (direct), but put (indeterminate, or at least not fully determinate) systems or scores in place by which movement is then produced (image-based systems like Butoh and Gaga would fit into this category, but also the vast field of improvisational scoring that has evolved from the mid-20th century onward). It is a shift away from singular determinacy towards multiple indeterminacies, and it is fully engaged with this shift towards permeability, complementarity, and (erotic) lack. I think it fits into a context of yet larger meta-narratives, like the shift to Web 2.0, and maybe even models for emergent taxonomies in general. There is a move away from hierarchy and toward democratization of power, which necessitates interdependence and collaboration. I don’t know if I could pin-point a single or even list of reasons for this shift, except maybe what Annie and Beth said: there is the potential for something more. I might identify this, in a broad sense, as the erotic sensation.

Lastly, I’ve been thinking more about the notion of the sensation of the erotic, how this sensation comes to be (the genealogy of sensation?). I’ve been thinking about erogenous zones as spaces and surfaces with which we comes to associate “something more:” a site of further sensation/increased sensation, a site for potential pleasure, a site for potential participation, etc. These spaces and surfaces becomes charged through their histories (by histories, I mean the complex intersections of experiences that contribute to the construction of these spaces and surfaces as we experience them; I am assuming that biology is always infused with culture, and thus to say, “My body feels this way or that way,” is never unaffected by the (cultural/social/ecological) history of that body), through experiences that allow for the recognition of potential. This is where I begin to correlate “queer” and “erotic:” both are an insistence on possibility. There are differences perhaps . . . I take queer to connote a range of possibilities always in flux, always fluid and mutable and unfixed. The erotic, on the other hand, is possibly dependent on a degree of predictability. In order to experience the sensation of the erotic, we must have first identified or become aware of a potential that we then experience as lack (available to be filled/fulfilled).

Or maybe not.
I remember something I said to Bebe Miller last year about the erotic experience of discovery. There is something intensely titillating about not-knowing (the not-knowing being a place of lack) that seeks knowledge. It has not clearly identified the lack, nor that which might fulfill it, but it allows for the gap. I experience this with bodies, with trees and landscapes, with new research endeavors, with collaboration and experimentation: the erotic charge is in those spaces of not-knowing that then fuels the search, the seeking. I feel it in contact improvisation, I feel it in sex, I feel it in nature walks, etc. These experiences deaden when it feels completely “known.” In contact jams, it deadens when we fall into patterns, the same sequences of actions and supports, without any new discovery/ies. The same is true with sex: when it feels scripted, when sensations feel predicted or expected, when actions and positions begin to feel sequenced and even practiced, when bodies are no longer landscapes to be discovered, etc. And so much is lost of our experience of our environment when it becomes predictable or “known” (which is of course inaccurate; it, like us/with us, is always in flux). On my walk to and from school in the mornings, or across the Oval and back again when acquiring (yet more) books from Thompson library, or our delightful “Notice What You Notice” practice in Current Issues with Bebe Miller and Norah Zuniga Shaw this past spring, all of these become an ongoing space for (erotic) discovery. Acknowledging the unfamiliarity of the seemingly familiar, searching for the unexpected or unnoticed, seems to me an act of constructing spaces of lack, spaces of potential, in order to be filled. I am reminded significantly of David Abram’s work in The Spell of the Sensuous and Sara Ahmed’s queer formulations of phenomenology: we are always potentially in reciprocal exchange with our environments (be that landscapes, dance settings, other people, etc.) and when we tune into that exchange and recognize our participation in it, I think we/I begin to experience that erotic sensation.

As I’ve worked through so many of my ideas about Sexecology and Ecosexuality, a questions that comes up every now and again has been “why?” Why look for sexual experiences with the environment? Why try to understand habitation and systems of interdependency through a sexual lens or epistemology? One reason that I have come to before is that sexuality, among many other taxonomies of our selves and our experiences, has the potential to serve as a site for liberation, transformation, discovery/re-discovery, and political/personal activism. I still think this is true. But I also think that it has something to do with this logic of the erotic. We (can) experience eros acutely through our sexuality; sex and sexuality are constant discourses of lack and complement, subjects and objects, desire, etc. It’s not, as I think I’m beginning to formulate, that sex is the only situation for the erotic, but that it is a familiar space. Here is where I see the potential for the employment of a sexual epistemology as a means for accessing/understanding/recognizing the erotic, both within and beyond what we experience/identify/taxonomize as “sexual.” Annie and Beth talk about sex being something really big and broad, not narrowly defined. I think this expansive sexuality, that explodes sex beyond specific acts and experiences and begins to recognize the relationship between those normally(normatized) experiences identified as “sex”  with a larger landscape of experience(s). I think that the erotic might be a significant connective tissue within this expansion.

Those are some of my thoughts. Looking forward to seeing where these ideas go.