Filed under: art, culture | Tags: amy champ, amy marsh, annie sprinkle, carol queen, center for sex and culture, dylan bolles, ecosex manifesto, ecosex symposium II, ecosexual queer porn, ecosexuality, elizabeth stephens, femina potens, joseph kramer, madison young, michael j morris, robert lawrence, san francisco arts commission, sasha hom, serena anderlini, sexecology, sharon mitchell, stephanie iris weiss, tania hammidi, tessa wills
Today I am flying to San Francisco for an exciting week of events that relate intimately to my research. The primary purpose for the trip is the Ecosex Symposium II and Ecosexual Manifesto Art Exhibit (see flyer and press release below):
FOR IMMEDIATE RELEASE
For all the information about the Symposium go to SexEcology.org
Contact: Center for Sex & Culture—415-902-2071
Love Art Lab 415-847-1323
Femina Potens Press: Malia Schaefer HYPERLINK “mailto:email@example.com” firstname.lastname@example.org
Annie Sprinkle HYPERLINK “mailto:email@example.com” firstname.lastname@example.org
Elizabeth Stephens: email@example.com
San Francisco, CA
ECOSEXUALS UNITE FOR AN ECOSEX SYMPOSIUM & ART EXHIBIT
The Ecosex Symposium II– a public forum where art meets theory meets practice meets activism—will take place June 17-19 at the Center for Sex & Culture in San Francisco, CA. What’s an ecosexual? Why are skinny-dipping, tree-hugging and mysophila so pleasurable? Where is the e-spot? Can the budding ecosexual movement help save the world? What is this new sexual identity and environmental activist strategy all about? These are some of the questions that will be explored. Femina Potens Gallery is producing the event in collaboration with Center for Sex & Culture.
Annie Sprinkle, Ph.D., a feminist-porn-star and artist turned “SexEcologist,” and Elizabeth Stephens, a UCSC art professor and environmental activist are organizing this event. The two women explain, “as a strategy to create a more mutual and sustainable relationship with our abused and exploited planet, we are changing the metaphor from the Earth as mother, to Earth as lover.”
Sprinkle and Stephens kick off the weekend with their “Ecosex Manifesto,” an art exhibit with new collages, wedding ephemera (they married the snow in Ottawa, the moon in Los Angeles and the mountains in West Virginia), and a manifesto. They have also invited a dozen other artists to display their related works.
Ecosexual author of the seminal text, Gaia and the New Politics of Love, Serena Anderlini, Ph.D., from the University of Puerto Rico will present the keynote address. What is Ecosexual Love?:A Guide to the Arts and Joys of Amorous Inclusiveness. Good Vibration’s sexologist, Carol Queen, Ph.D., will explore The Sexology of Ecosexuality. Dr. Robert Lawrence, Ph.D. will cover ecosex fetishes. Also presenting is Madison Young, the award winning queer porn movie director and the Femina Potens Gallery director. She will cover the Greening of the Sex Industry. Artist Tania Hammidi will perform a dance piece about conflict, genocide and olive trees in the Middle East. Other presenters are artists Dylan Bolles & Sasha Hom, Amy Champ, and the legendary porn actress, Sharon Mitchell, Ph.D., who will talk about The Sensual Pleasures of Gardening. The author of the book Ecosex; Go Green Between the Sheets and Make Your Love Life Sustainable, Stephanie Iris Weiss will be Skyping in from New York. Erospirit Institute director, Joseph Kramer, Ph.D. will guide the group in some somatic ecosex practices. Michael J. Morris will discuss theories of ecosexuality. Amy Marsh shares how toxins ate her sex life, and performance artist Tessa Wills offers an Anal Ecology performance piece. There are twenty five scheduled presenters, and there will also be an open mic forum for attendees to share their work and ideas. Becka Shertzer’s Brazennectar and Mister Cream team up to create and serve a gourmet, “ecosexi-love-a-licious” vegan lunch.
Expected to attend the conference are artists, activists, theoreticians, nature fetishists, environmentalists, ecosex community movers and shakers and people from many other walks of life. These events are sponsored by Femina Potens Gallery in collaboration with the Center for Sex & Culture. Stephens and Sprinkle received a cultural equity grant from the San Francisco Arts Commission to help make it all possible.
All the details and advanced tickets are available at SexEcology.org The producers of these events say that their aim is to “make the environmental movement a little more sexy, fun and diverse.” They’d also like to see an “E” added to GLBTQI.
Friday, June 17
7:00-9:30 ECOSEX MANIFESTO ART EXHIBIT OPENING RECEPTION &
ECOSEX SYMPOSIUM RECEPTION (Everyone is invited. Free.)
All three days of events will be held at the new Center For Sex & Culture, 1349 Mission Street. (Between 9th and 10th)
Saturday, June 18.
ECOSEX SYMPOSIUM 11 ($35. for the whole symposium.)
10:30 AM to 10:45 PM
Sunday, June 19
ECOSEX MANIFESTO ART EXHIBIT
The Ecosex Manifesto Art Exhibit will be open for public viewing for a month through July 24th. Check SexEcology.org for gallery hours.
June 16, 8:00 Femina Poten’s ECOSEXUAL QUEER PORN NIGHT—Tall Tree Tambo, 776 Haight Street, San Francisco, CA
June 19 5:00-7:00 DIRTSTAR PERFORMANCES at the Tenderloin National Forest/Luggage Store, 1000 Market St., San Francisco, CA.
Filed under: Dance, research, yoga | Tags: butoh, catriona sandilands, david abram, eco-sexuality, ecology, ecosexuality, erotic, karl cronin, love art lab, sexecology, spanda, tantric philosophy, Yoga
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.
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.
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.
Filed under: research | Tags: anne carson, annie sprinkle, catriona mortimer-sandilands, collaboration, daniel holt, david abram, eco-sexuality, ecology, ecosexuality, elizabeth stephens, eros, eros: the bittersweet, erotic, green wedding four, guerilla dance, love art lab, queer, sara ahmed, sex, sexecology, sexuality
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.
Filed under: Dance, research, yoga | Tags: butoh, catriona mortimer-sandilands, catriona sandilands, coco loupe, CORD, doing queer studies now, eco-sexuality, ecosexuality, foucault, frederick ashton, harmony bench, harry hay, karl cronin, labanotation, laurel hodory, love art lab, modern dance pedagogy, movement interchange file format, phenomenology, queer theory, radical faeries, sexecology, somatic natural history archive, the dream
I have been negligent of my blog for too long. This summer swept me away in several new (and some unexpected) jobs, and lots of reading for my second comprehensive exam (most of the reading will likely also be useful towards whatever my dissertations shapes up to be). Getting close to a month without writing, I decided that it was time for an update.
My work situation for the summer is spread across three sources: I have a part-time GA in the Department of Dance teaching Modern I for non-majors and continuing work on a digital video archive for the dance documentation materials within the department. The teaching has been an unexpected challenge and delight. There is a beauty to bodies that (for the most part) have not been trained in dance techniques. I’m having lots of thoughts about dance technique as a form of discipline for the docile body (re: Foucault), but in contrast I am also taking delight in entertaining the perspective of the early modern dance pioneers (Duncan, Humphrey, Graham, etc.), that modern dance has the potential to function as a liberatory project, a resistance to the normative physicality of daily social existence. I think this beginning level course is an ideal demonstration of this perspective: these are bodies that are not going to become “disciplined” through this technique (we meet twice per week for five weeks; ten classes total). My hope/intention for the course is to provide a range of physical experience through which to develop heightened awareness of possibilities through the establishment of an array of sensorimotor schemas. The material that we are exploring is predominantly on the floor, exploring alternative supports and methods of locomotion through a dynamic experience of exchange with the earth; it does not require a significant development of strength or flexibility (impossible in the given time) but does provide the opportunity for the students to become aware of physical possibilities, especially those absent from normative physicality in our culture (horizontal axis of movement, supporting/exchanging weight with the earth predominantly through supports other than the feet legs, etc.). I hope in the next few weeks to also explore systems of timing, cueing, and awareness that depend primarily on group attention rather than counts; I think there is something valuable in a system of organization that emerges from mutual/communal attention (as opposed to an external regulatory system like counts or following me).
My second employment position is also in the Department of Dance, a Research Assistant position funded through the Dance Preservation Fund. I am assisting Dr. Sheila Marion and David Ralley with the initial phase research for developing a Movement Interchange File Format, a file format capable of encoding/recording the complex information of a Labanotation score in such a way that it might be useful for future software developments in writing software, animation, and translation between systems of notation (others most notably including Benesh and Eshkol-Wachmann). My work this summer is attempting to systematically describe the interdependent assumptions and “defaults” of the notation system, and construct a kind of comprehensive “script” that might then be used to formulae the first layer of programming for the file format/associated software. It’s an entirely different way for me to be thinking, and has involved going deeply into the notation system, primarily the Advanced Labanotation series by Ann Hutchinson Guest and Joukje Kolff, alongside Sheila Marion’s dissertation, and a thesis by Kolff proposing a “formal movement structure” that amounts to a computational representation of Labanotation in order to develop computer-based writing software.
I am also working part-time with Laurel Hodory, a local yoga teacher and trainer of teachers. I am assisting primarily with marketing and video work. Some of the footage that I have shot and edited is live on Laurel’s Vimeo account.
My reading for the summer is a survey of several seminal queer theorists (Michel Foucault, Luce Irigaray, Monique Wittig, Judith Butler, Eve Sedgwick, Jeffrey Weeks), some phenomenology (Maurice Merleau-Ponty, Sara Ahmed), continued readings in ecology, ecofeminism and other feminist writings (most notably Catriona Mortimer-Sandilands, Karen Warren, Greta Gaard, Carole Vance, Elisa Glick), and dance/art scholars/philosophers (Valerie Briginshaw, Judith Hanna, Erin Manning). I have also been reading Radically Gay: Gay Liberation in the Words of Its Founder, a collection of the writings of Harry Hay, the founder of the Radical Faerie “movement” (edited by Will Roscoe), because of its potential relationship to my Sexecological/Ecosexual research, but also in preparation for revising a paper on Frederick Ashton’s “The Dream,” using Hay’s writings and the Radical Faeries as a lens for a contemporary queer choreographic analysis of the ballet. I am only a few weeks in, but already themes are beginning to emerge around notions of fluidity, permeability, a recognition of the constructed nature of many of our borders, boundaries, and systems of description, and the genealogies of those edges that divide and distinguish. For this exam, I am going to continue my examination of the work of the Love Art Laboratory, situating their Sexecological weddings and exhibitions in a larger frame of queer(ing) projects, looking mostly at the Green Wedding in Santa Cruz (2008), the Blue Wedding to marry the Sky in Oxford (2009), the Blue Wedding to marry the Sea in Venice (2009), and the 2009-2010 gallery exhibition “Sexecology: Making Love With the Earth, Sky+Sea” at Femina Potens in December-January.
One of the most exciting readings I have done thus far has been an article by Catriona Sandilands entitled “Eco Homo: Queering the Ecological Body Politic.” In addition to its direct address of tissues that of becoming central to my line of inquiry (contemporary ecological practices, queering ecologies, the implications of these for the body, etc.), Sandilands anchored this article in a personal account of her experience in a series of Butoh classes. Within a matter of pages, she had linked for me what superficially have functioned as disparate areas of interest in my work, ecology, queer theories, and Butoh/dance practices. I was in tears at the end of the article . . . which might be strange for reading academic prose. But it was partially because of the punctuation of the article with passages of personal accounts. And not just any accounts, but writing about the meaningful experience of practicing Butoh, and its potential to function as a physical practice that embodies the concerns of a queer ecology, and fluidity across the borders of presumably bounded bodies through the “taking in and taking on” of the environment as the butoh-fu (the imagistic score informing/forming the dance).
I wish I could post the entire article here, but I am certain there would be copyright issues with that. Instead, I will offer the bibliographic information and quote/cite specific passages that I found to be extremely relevant to bridging these areas of interest.
Sandilands, Catriona. “Eco homo: Queering the ecological body politic.” Environmental Philosophy As Social Philosophy. Editors Cheryl Hughes and Andrew Light. Charlottesville: Philosophy Documentation Center, 2004.
“To conclude this paper, however, I would like to offer a brief, and perhaps unusual, conjecture. Specifically, I would like to suggest the possibility of practices of embodiment that performatively render the boundaries of the body negotiable by engaging in representations and rituals that open the skin to the somatic presence of the abject. This project is, I think, an ecological aesthetics of the body that recognizes the perpetual dancer of the outside but that orients, nonetheless, toward the (self-) creativity imanent in the dynamics of skin transgression. In so doing, I would like to suggest, following Diprose, that a performative politics might include both a transgressive element and a committed desire to re-habitate, re-familiarize, and re-materialize the body in relation to others.
“In this performative re-embodiment, I would like to point to the skin, both as a metonymic focus for an altered politics of corporeal representation and as a physical site to which to pay ritual corporeal attention in alternative enactments. Skin is a porous, changing and active organ that is at once crucial to our lives as organisms and, is, significantly, not thematized as our internal core. Skin is, precisely, a surface, but it is also an active participant in our corporeal renegotiation of the world. Skin is part of the appearance of the world, an aesthetic referent in self/other relations; all organisms are en-skinned, but we all have different qualities of skin and inhabit them differently. Focusing ecological attention on the skin, I think, forces us to pay bodily attention to the complex physiology and social relations by which our bodies bleed into the world, and the world into us. And skin shows us our porous vulnerability to the world always, not just in moments of crisis, and suggests that we learn to live, in non-apocalyptic ways, with that openness” (32-33).
“Rather than skin vigilance, then, skin aesthetics: How to live the body on and in this dynamically porous skin? How to practice a body-on-the-skin in a way that does not aim to coherence and closure, nor to infinite fluidity, but to an active, sensual and contextual semi-permeability? How to think of the skin as a site for the art of the body, for coporeal practices drawn from a range of traditions but without the strong orientation to self-govenance and order? How to think of the skin as a site of a specifically ecological aesthetic, an art form not dependent on infinite consumption and management of body parts and appearances? How to democratize the skin? How to create, on the skin, an ars erotica rather than scientia sexualis?” (33)
She brings this all to her description of Butoh:
“One way I have thoughts about Butoh is that the dance is the animated tension of the body held between external and internal influences. the dancer doesn’t perform an image, say, as an act of willful mimesis; he practices taking it in and taking it on, embodying and performing the interaction between the image and the body’s response. Memory is vital, here: by animating corporeal memory, the dancer opens the skin to the materialization of the image . . . From a more explicitly ecological viewpoint, I understand the idea of a body moving with the carefully ‘installed’ figures of nature–cranes flying in the shoulders–as an aesthetic practice of ecological incorporation. To dance with an orientation and openness to the fact of one’s own materialized body is to dance, not only with the awareness that the other is in your skin, but with the varied embodiments of others as part of one’s corporeal vocabulary. In Butoh, dancing a leaf in the wind is not about representing the leaf to an audience, nor is it about claiming to know the essence of that leaf’s being; it is about performatively re-membering the leaf’s wind-tossed body in one’s own, about losing one’s ‘self’ to the memory of the leaf’s body” (34).
She finishes with a moving description of a Butoh class:
“Thursday, June 20: I carry a landscape in my body. There are trees growing out of my head; my left arm is a waterfall, my right hand a rotting cabbage; old women are playing cards in the sun in my torso; my shins are brittle sticks, breaking and snapping with the tiniest movement. I must walk to the other side of the studio; I am all of these elements but I am also responsible for carrying them and keeping them safe in the crossing. I bear my trees, my cabbage, my old women, my precious sticks, through elemental changes–a windstorm from the west, electrified cattle guards under my feet–and I fall from the effort, damaging my precious cargo, my precious landscape, my own body in the process. But I do arrive. And even as I deposit my little body-world, tenderly, on the floor, I feel the presence of trees, cabbage, women, and waterfall, sticking to my skin, tiny flecks of memory mingling with sweat. I am the history of the presences, and my body is not really mine” (35-36).
Simply stunning. The article also traces/formulates relationships between the governing of bodies and the governing of the environments, the relationship between sexuality and wilderness, the establishment of borders around bodies, borders around landscapes, all in an attempt to “preserve” the “integrity” of each, resisting permeability, resisting fluidity and “pollution.” It is extremely provocative, and I think that it will constitute a sea-change in the direction of my research.
Perhaps lastly for today, and in perfect concert with Sandilands article, is the work of Karl Cronin. My dear friend CoCo Loupe has referenced Karl’s work to me for literally years and this spring I finally got around to taking a look at it. I cannot even begin to write all that I want to write about this work (I am currently entertaining the possibility of it as a chapter in a dissertation; maybe an article). Cronin is doing precisely what Sandiland describes, almost eerily so. He is constructing a Somatic Natural History Archive. Cronin’s description of the project is as follows:
“The Somatic Natural History Archive is a work of conceptual art and experiential geography research. Following direct physical encounters with plants and animals, Karl Cronin creates movement portraits that capture key features of each particular organism.”
“The Somatic Natural History Archive (SNHA) is a research project and public resource developed and hosted by Karl Cronin.
The SNHA will begin with Series 1, the embodied histories of 10,000 plants and animals. Series 1 will take roughly 50 years to complete.
The number 10,000 was chosen because it is large enough to reveal some of the breadth of our planet’s biodiversity, and because the number has been used historically to refer to the “phenomenal world” (all that is), particularly by early Zen Buddhists.
The SNHA is being built in the regions surrounding three research hubs: San Francisco, Santa Fe, and New York City.”
I am in awe of this work. I think it is saturated with theoretical inquiries surrounding the collapse of a hierarchical bio-diversity, the merging of the subject with the “other” (other more-than-human subjects), and echoes/enacts much of what my research around ecologies in performance has been orbiting. I know that this work will have some role to play in my own as time goes by. It is more than simply the exposition of bio-diversity; it formulates the (human) body as the site of this exposition, for this archive. That is perhaps the most exciting part for me . . . I have been working on a digital video archive for two quarters and in the fall I will take up a position managing the Dance Notation Bureau’s collection at the Theater Research Institute in Special Collections at OSU. Archives have been on my mind, and the notion of the body functioning as an archive, materializing the (human) body as an archive of that which is more-than-human . . . it is such a profoundly reverential service. It recognizes and enacts the body as permeable, malleable; it disrupts normative physicality through the adoption of the “other.” By taking the “other” inside/on/as oneself, there is a performative collapse of the distance between self/other. This relates for me to much of Sandiland’s writings, and also Harry Hay’s perspective of a “subject=SUBJECT” consciousness. I have commenting before that with different motives, there could be a sense of colonization and appropriation attached to this work. But there isn’t; it has something to do with the space between owning and becoming, occupation and surrender, taking and receiving . . . I have yet to fully deconstruct these nuances, and I know that there will be much to write and say about this work for a long time to come. For now I will simply offer a video of the work:
There is also an amazing video for Cronin’s “The Dancing Ecologist” fundraiser at Kickstarter here (it doesn’t embed, but PLEASE go view it; it’s short but stunning).
And that’s the short version of where things are at right now. Pride was a few weeks ago, I’m going to be spending the next two months housesitting in three different locations, I am dreaming up projects and choreographies for the fall, over the moon that Dr. Harmony Bench is going to be joining our faculty in the fall, working on papers for two different conferences in the fall (Doing Queer Studies Now at Michigan Ann-Arbor, and CORD in Seattle), etc. I’m not sure what is going to emerge from all of the intersecting projects (How does Labanotation software and sexecology co-exist? What comes from the cohabitation of a digital video archive and queer theories? Etc.), but that’s the lay of the land.
Hope you are well.
Filed under: Grad School, research | Tags: butoh, coco loupe, dissertation, eco-sexuality, ecology, ecosexuality, green wedding four, karl cronin, laban, labanotation, love art lab, queer theory, sexecology, somatic natural history archive
Here I am at the end of another quarter. I am about to embark on a summer of reading and writing for my second comprehensive exam. I hardly feel like writing at all right now . . . yesterday I turned in a real labor (full of great love), my first bit of writing on Sexecology and Eco-Sexuality in the work of the Love Art Laboratory. For this paper, I grounded my theorizations in the text from Green Wedding Four. The support for my theorizations came primarily out of the writings of David Abram, Judith Butler, Catriona Mortimer-Sandilands, Greta Gaard, William Cronon, Anne Carson, Chaia Heller, some Karen Warren, and a smattering of other writers in ecofeminism and ecology. It is not a refined paper, not yet, but it excites me to no end to have finally written some of the implications/situation of this work that means so much to me.
Perhaps the most relevant summaries come at the end of the paper:
“The formulation of an Eco-Sexual identity is a practice of an erotic eco-logic, deconstructing heteronormative constructions of gender, sex, sexuality, and nature in order to continually queer and destabilize identities, actively form and retain spaces of lack that necessitate interdependency, and engage a permeable sensuous self in perpetual sensorial reciprocity with the sensing and sensible more-than-human environment. It is an identity identified by desire rather than a stable essence or being, and it is a desire for the more-than-human environment in which the human subject is sensorially implicit.
“Similar to the queer ecofeminist and queer ecological project, Sexecology looks to this Eco-Sexual identity for fundamental qualities of its organization. It is a functional system of interdependency that discovers its functionality through this erotic eco-logic and its destabilized, permeable, and necessarily interdependent participants. Green Wedding Four functioned as both a performative enactment of this Eco-Sexual identity, reified in the queer lesbian wedding between Sprinkle, Stephens, and the Earth, and as a demonstration of this Sexecology, predicated on collaborative construction and a necessary interdependence between its seemingly disparate human and more-than-human participants.”
This summer I am going to be reading more queer theorists (more Butler, Luce Irigaray, Monique Wittig, Eve Sedgwick) and some phenomenology (namely Merleau-Ponty) in order for this research to find grounding and situation in those fields of inquiry. I have submitted an abstract of this research to two different conferences in the fall; we’ll see if those pan out.
And I finally feel as if some ideas are coalescing that may be a direction for a dissertation. It will definitely grow, transform, evaporate, condense, explode, and be re-built many, many times in the months to come, but I feel the need to sketch out some ideas/sources/etc.
I have spent the afternoon falling in love with the work of Karl Cronin. My dear friend CoCo has referenced this work to me several times, and today I finally found time to peruse it. This is Kronin’s description of the project:
“My name is Karl Cronin and I’m the creator of the Somatic Natural History Archive.
I am using movement sketches to document the life histories of 10,000 plants and animals. This work is similar to John James Audubon’s drawings of birds, only I’m using expressive movement.
Now, you may be wondering “what does dance have to do with ecology”?
The short answer is, at its core, dance involves researching and expressing our experiences. Ecology includes creating descriptions of how organisms interact with their ecosystems.
By placing my whole self as a sort of recording device in a given environment, I can use all my faculties to document how a species is interacting with its environment. What I see. What I hear. What I smell. What it feels like to be there. I use all these faculties to explore the individual expressions of particular plants and animals.
I then share all this information in public presentations across the country – a mixture of story-telling, movement, and film.
Kickstarter donations will be used to cover my field expedition travel costs for 2010.
Fore more information, please visit my website – http://naturalhistory.us
I appreciate your support!
Your dancing ecologist,
You can see a great promotional video for this project here.
What a turn-on. Kronin’s work in experiential geography and this project of the Somatic Natural History Archive seem to be a really lovely additional hub in my constantly evolving constellation of ideas surrounding dance, the body, ecology, sexecology, eco-sexuality, the unity of body-and-environment, phenomenology, the situational construction of identity, etc. I look forward to reading, seeing, funding, and maybe even writing more about this work.
I have also long been interested in examining both Rudolf von Laban’s early writings (and the consequential systems of Labanotation and LMA) and the early Butoh movement for their perspectives of the body and its relationship (unity with) environment.
I’m interested in how these perspective inform creative practice, how they come back into the studio as methodologies within creative practice and as methodologies for analyzing creative practices. I am also interested in how creative practices in dance might function as sites of useful knowledge to other (related) fields of inquiry: if we might consider choreography as the formulation of unique micro-cosmic and performative human ecologies, how might analyses of these “choreographic eco-systems” inform ecological analyses in the fields of biology and anthropology, etc.? If we accept that all scientific formulations are emergent of specific historical, cultural, and social situations, then how might choreography function as a source of intentional methods of observation, analysis, and taxonomy? How might perspectives coming from areas of study/practice like Laban’s work, Butoh, Cronin’s work in experiential geography and somatic archive, and Love Art Lab’s work in Sexecology offer useful perspectives/information to other fields, as well as their own fields?
Somewhere in here there is still strands of questioning the ways in which movement(dance) and choreographic practices contribute to the construction of individual and ecological identities, the difference between different methodologies for movement generation in these constructions (direct methods such as body-to-body demonstration and coaching, indirect methods such as improvisational scores and notation-based movement generation, etc.), and the ways in which dance/movement practices functionally disrupt/subvert socially regulated physical normativity and bodily decorum in both training and presentation. There’s a lot about exchange and reciprocity between body and environment (which is not separate from culture/society), the conflation of the two . . .
And then my ideas run out of words. Those are my scribblings for today. I’ll be fascinated to see how this pans out.
Filed under: cosmology, creative process, Dance, Ontology, research, yoga | Tags: annie sprinkle, autumn quartet, breakups r tough, butoh, chakras, cuddle, eco-sexuality, ecosexuality, elizabeth stephens, forsythe, judith butler, KNOW(TOUCH)ME(YOU)(MY/YOUR BODY), labanotation, love art lab, monster partitur, scores, scoring, sexecology, trio a, u.turn art space
Two ideas have been steeping for the last few weeks. It’s about time to get them down somewhere.
The first is a piece that I am performing next weekend at U·turn Art Space in Cincinnati. I participating in a group show entitled “Breakups R Tough.”
This is the gallery’s description of the show:
“Cincinnati, OH—About now, many of those relationships that were flourishing at Valentine’s Day aren’t looking so good. U·turn Art Space is pleased to announce a group exhibition that generates a wry discourse to deflate the melodrama of failed relationships. The exhibition includes Shawnee Barton, Stephanie Brooks, Alex Da Corte, Craig Damrauer, Erica Eyres, Lynne Harlow, Peter Huttinger, Eric Lebofsky, Joetta Maue, Casey Riordan Millard and Michael J. Morris.
Artists using embroidery, drawing, installation, performance, photography, sculpture and video offer different perspectives on crisis points in the human experience. Not strictly focused on just the ‘breakup’ between romantic partners, Breakups R Tough considers how interpersonal interactions cease or mutate into something more chaotic. Grafted into the dialogue are slanted looks at other stages in the quest for love, companionship and sex, such as propositions, courtship and self-pleasure. The assembled artists will address the topic with humor, wit, sexuality, physical comfort, and suggestions for remodeling our culture’s structure for types of relationships and categories of love and conflict.”
You can read more about the show here as well.
This is the published blurb about my piece:
“During the opening reception of Breakups R Tough, Morris will be creating a performance piece in homage to a 2005 artwork by the Love Art Laboratory, which is comprised of the famed sex artist Annie M. Sprinkle and her wife, artist and activist Elizabeth M. Stephens. LAL is a seven-year long undertaking in which the two women facilitate annual performance-based projects and rituals, including wedding ceremonies. In their first year, 2005’s Red year, Sprinkle and Stephens created the work entitled “Cuddle” in the Femina Potens Gallery. Once a week, during the exhibition the artists would put on cuddle outfits and spend several hours cuddling gallery visitors who had made advance appointments. They invited the participants to take off their shoes and socks and cuddle with them for seven minutes. This piece has been recreated by LAL in multiple locations, both nationally and abroad. After receiving a grant to travel to California and interview Sprinkle and Stephens in December 2009, Michael J. Morris will conceive a version of this piece as a performance in the U.turn exhibition. His piece is intended as a subversion of popular cultural perceptions of interpersonal acquaintance and intimacy, physical promiscuity, and socially authorized physical behaviors, while also serving as a celebration of the body as central to identity and expressions of love in non-traditional forms. For more about the Love Art Laboratory, please visit the website here.”
You can read about and view documentation of LAL’s original piece here.
There are marked differences between Annie and Beth’s (and their dog Bob’s) original piece and my re-created homage to their work. Aspects that immediately spring to mind are the differences between cuddling with a lesbian couple and cuddling with a single gay man, the difference between this piece being staged in an alternative arts space in San Francisco (or Glasgow or Austin, where it has subsequently been restaged) and staging this piece in a gallery in the midwest, in Cincinnati. Another difference is that I am attempting to partially contextualize the piece in Love Art Lab’s current work. As simple an alteration as it may be, I am making a purple bed/space: purple sheets on the bed, purple curtains (hopefully), and maybe even a purple cuddling costume. Love Art Lab is currently in their Purple year, the year of the Third Eye Chakra (Ajna), centered on intuition and wisdom. My hope is that the recontextualization of the piece goes deeper than just a shift in color but also in intention. In the original piece in 2005, the emphasis came out of the Red Year (Root Chakra, Muladhara), Security and Survival. Here cuddling seemed to be a kind of reassurance, a cultivation not only of love (part of the mission of LAL) but also a kind of interpersonal security, the safety offered by holding or being held. I think these aspects can’t help but carry over into my re-creation of the piece, but there is also the potential for a shift in intention to be one of knowledge and knowing. The act of cuddling, this temporal physical engagement being an act of both knowing and being known. As I’ve stated, my interests for the piece are “intended as a subversion of popular cultural perceptions of interpersonal acquaintance and intimacy, physical promiscuity, and socially authorized physical behaviors, while also serving as a celebration of the body as central to identity and expressions of love in non-traditional forms.” These notions harken back to the piece I created last year (and enacted this year in the process of Autumn Quartet), “KNOW(TOUCH)ME(YOU)(MY/YOUR BODY)“. Because my research and current perspective situate the body itself as the site for the perpetual perception, negotiation, and performance of identity, I often find it troubling that our culture privileges visual and verbal modalities for the acquaintance of individuals. We get to know one another predominantly by what we see of one another and what we say. I am interested in subverting this, privileging the body not only as the site of identity, but a potential site of acquaintance. The Cuddle piece serves this, and I think there is something of this physical “getting to know you” that echoes the knowing intuition of the Purple Year of LAL. I’m also thinking about the extension of the body/self into the environment (this is essential to my understanding of “Sexecology” and “Eco-Sexuality,” ideas that have emerged from LAL and their performance work), and how the construction of this “cuddling space,” the bed and the curtains and the (hopefully) soft lamp light, may also serve as an extension of myself, the implication of myself into the space, and the subsequent implications for inviting gallery patrons into that space. I am also fascinated by the relationship between this work, Love Art Lab, the chakra system (and thus Tantric philosophy out of which it emerged) and my own yoga practice and teaching of yoga. How does my teaching inform this work, and how might it is turn inform my teaching?
I’ll let you know how it goes.
In a seemingly completely unrelated speculation (but of course it is all related), I am thinking about a practice or a course (or book?), something like “Scoring: The Constitution of the Moving Self.” This thinking started while writing my recent paper on the process of reading and dancing Trio A from Labanotated score (see previous post), but has evolved into a constellation of thought, touching on my predicted dissertation research and additional systems of “scoring” that I have explored. I am thinking about the lived “here-and-now” experience of the dance and the dancer as inseparable, that in the moment of dancing, both are mutually defined by one another (or, perhaps more accurately, as one). I am thinking about how dances or movement are generated and created, and how the individual is constituted through those generative processes. Because I think of movement as an extension of self (and a force by which the self is invented in the present here-and-now), I am interested in how scoring systems are used to generate movement and in doing so generate individuals. I am thinking about scoring systems like Labanotation and Motif Description, but also verbal/imagistic scores used to produce movement, as in Butoh (the language used to generate movement are called “Butoh-fu” which literally translates to “Butoh notation”) and Gaga, and the various systems of scoring that I experienced in the Forsythe project here at OSU last year, things like “room writing” or inscribing in space (tracing imagined forms in space), and the production of the wall score for Monster Partitur (line tracings of shadows produced by paper sculptures from skeleton models that emerged from a personal history). I am also thinking of Fluxus scores and scores used in choreographic practices by artists such as Pina Bausch. What comes to mind is the question of “what is a score?” Right now I am thinking of it as a persisting physical, linguistic or conceptual artifact by which movement is produced. The nature of the scoring system determines that nature of the movement and the nature of the method by which it is produced. I am not thinking of scores so much as documentation of what was (a record of movement that existed) as much as I am considering it as a generative source. It is, of course, situated somewhere in between these moments/movements: the means by which the score was generated (this may be a documentation of movement as in Labanotation or an idea, as in Butoh) and the movement that the score then produces.
Central to these ideas are the fact that the movement produced (by the score) is intrinsically unique and definitive of the individual. While the score itself is persistent, the movement it produces is not. It is unique to the individual, as the individual body, emerging from and simultaneously contributing to the identity of the individual.
There is a relationship between scores and the regulatory normalities by which persons are constructed/produced. I’m reading Judith Butler right now, and I am thinking about the pervasive culturally constructed systems by which individuals are regulated and produced. Gender, according to Butler, does not precede the acts by which gender is signified, but is in fact constituted by those acts by which it is perceived to be persistent. I am thinking of the engagement of the individual with the score as an active co-creation/participation in the generative structures by which the individual is produced. By enacting the score, the individual practices agency in the formulation of action and the methods/structures by which they are produced. If identity (and gender) are not that from which performative acts emerge but are in fact constructed through the sequence/repetition of performative acts, what then is the implication of the persistent score in the generation of acts? What is there to analyze in the relationship between the score and repetition?
And so, in a sense, it all relates. “Cuddle,” as formulated and enacted by Annie Sprinkle and Elizabeth Stephens in 2005 now serves as the score by which my own actions are produced. I engaged with the documentation of that work as a score and in doing so select the structure by which my self, my situation, and my contribution to culture and society are produced.
I would love for this to be a course at some point, examining the nature of scores and scoring, how it may reflect, co-create or interrupt the pervasive social “scores” by which we are produced (I love the idea of situating Butler in the context of movement scores/scoring), and exploring various systems of scoring in the conscious production of self. If I apply for jobs at some point, I could imagine this being a course that I would propose to teach.
Those are my thoughts today. I hope to have time to continue to serve these ideas as weeks go by. I hope to continue to read and dance Trio A as a means of constructing myself, and to engage with additional scores in the production of movement/self.
Onto the spring quarter . . .
Filed under: creative process, Grad School, research | Tags: eco-feminism, eco-feminist philosophy, eco-sexuality, ecosexuality, embodied cognition, labanotation, love art lab, sex-positivism, sexecology, sexual epistemology, Synchronous Objects, tantric philosophy, trio a, yvonne rainer
I realize that there is paradox in the very fact that I am taking time to blog about not having enough time to serve all of the ideas spinning around in my life. But I am hoping that by giving them each a little attention, enough attention to put them down in words here, I will be making some space in which to function.
Perhaps the most significant and looming is the paper I am trying to author concerning the Love Art Laboratory, Sexecology, and Ecosexuality. I have compiled a bibliography of potential resources for the paper emerging from fields such as Eco-Feminism and Eco-Feminist Philosophy, Queer Ecology, Embodied Cognition, philosophies of Continuum Consciousness, Tantric Philosophy, and Sex-Positivism. It is my growing project/interest to construct a theoretical foundation for considering the expansion of the boundaries of what we conceive of as the body. I am not attempting to erase or denigrate the body; instead, I am interested in constructing a notion of the implication of the body within the perceived universe/environment. I think this may be a potential implication in the notion of Sexecology/Ecosexuality. From this theoretical foundation, I am interested in exploring the sexualization or eroticism of environment, through the implication of the body in the perceived universe/environment, and the potentially positive effects of implicating sexuality in the environment. Big, nebulous ideas. Need refinement. Not sure when there will be time.
Along with these ideas of expanding the boundaries of the body, I have recently been conceiving of the unity of the body and space. The foundation is the same, that our experience of space is essentially perceptual, perception is an essentially corporeal activity, and while that which is perceived may in fact occur separate from perception, within our experience of it, what it is and how we perceive it are inseparable. Thus, the implication of the corporeality of space. The space that we perceive occurs primarily within the bodily experience of it. An adjacent consideration is the continuum of experience of body/space. We never experience our selves/bodies in a void, but always in space. Similarly, we never experience space removed from our bodily context. The two are never known separate from one another. I am interested in how we might conceive of the body and space as unified. What might it mean to consider a dancing body-space rather than a dancing body in space. Ironically, I think these concerns may be addressed in the work of Rudolf von Laban. Specifically in Labanotation, movement and position is analyzed and described as the continual relationship between body and space. Rarely do you read or write the body without reading or writing where it is spatially. I have always considered it as writing the relationship between body and space, but what if it were to be considered as writing the body-space? How might that change the way we consider movement, bodies, ourselves, our environment, our actions, etc.? I think there are connections here worth exploring.
In the vein of Labanotation and relating to the course I am taking in the History and Theory of Postmodern/Contemporary Dance, I have a renewed interest in reading Yvonne Rainer’s “Trio A” from Labanotation score. I read about half of it last spring in my Intermediate Labanotation Course, and I am really interested in reading/embodying the dance in its entirety. I’m not sure when I will have the time to do such a reading/practice, but I have the interest. It may also be a project that could provide a vehicle for exploring these other ideas, the expanding “centrality” of the body (is that appropriate or ambiguous language?), the unity of body and space, etc. It is a desire. I’m not sure if it is one that can be served right now. But I am passionate about dance history and theory integrating dancing as a methodology and even modality of learning. I think notation provides an ideal implement by which to facilitate that integration. To re-learn/learn “Trio A” while studying Judson and the era of Postmodern dance seems like a dream.
There is also the lingering desire to choreograph a solo based on the “Alignment Annotations” object from Synchronous Objects for One Flat Thing, reproduced. I am interested in writing a Motif Description score of the graphic “object” (which annotates choreographic structures of movement alignments across a seventeen person cast), and from that score, generate movement material for a solo performer. There are all kind of levels and implications to that project. I’m not sure when it will be served. Maybe next quarter in “Current Issues” (which is looking at rigorous emergent creative research).
I am also interested in this notion of “sexual epistemology,” or ways of knowing that emerge from sexuality. I have been interested in exploring the methodologies of the field of sexology and investigating the validity for applying those methodologies to dance practice, be that dance pedagogy, choreographic practice, or even the study of history and theory. This is coming out of a recognition within my own creative practice that sexuality is often omitted or ignored in both dance and academia (especially dance academia). While I can’t be sure, I feel as if this is an effect of an underlying sex-negative perspective, that sex and sexuality are somehow compromising or contaminating rather than constructive or enriching. I’m not sure if this will become a significant research interest, but it is definitely an area of personal and creative interest. I think I am most interested in how human sexual behavior is analyzed, categorized, and discussed in fields such as sexology, and how those lens may be applied to or integrated into dance practices. How might we consider dance, movement, and the body for its sexuality, or how might sexuality reveal aspects of dance/movement/the body that were previously unconsidered? I have absolutely no working knowledge of the ideas I am discussing here, but those are my interests on the subject.
And there are always more. More to read about, more to dance about, more to write and talk and dream about. For now, I am back to work on reading and writing. I have “Autumn Quartet” practice tonight . . . as of now, our plan is to only do this piece four more time, including tonight. That makes me sad. And at the same time, it presents a different energy or urgency to the work. We’ll see how that surfaces.