it's funny like how a fractal keeps changing form, imploding and exploding simultanteously, and seriously dynamic, but the joke is that it is all actually self-similar and repetitive.
(green kamala)

"The vast causal independence of contemporary occasions is the preservative of the elbow-room within the universe" - Alfred North Whitehead, Adventures of Ideas

I WANT TO GO TO JAPAN
AND THE CENTRE FOR COSMIC WONDER.

I WANT GO- DO- THINGS
            EAT- AND I LOVE

      BLESS THE WANDERING POEM
THAT COMES FROM SOMEWHERE
        OF MEANING.

I AM MOMENTING (MO-MEN-TUM-ING)
    FULL COLOUR

I HAVE NEVER
    HAD PAIN LIKE
        THIS-
    TEST OF SKIN
            BEING
ALL THE WAY INSIDE - 
     AND BEYOND -
    A BODY
         OF CONSTRAINT

A BODY OF CONSTANT
    CHANGE

GIVE MY ATTENTION TO THE
    BELLS OF THE MOMENT

THE POEM I AM SINGING
WITH THE WORDS
SUNG OF WITHOUT
    NOISE

I WANT THIS DANCE
  TO CONTINUE
    FOREVER EVEN IF I AM
 NOT WATCHING
    A SECOND
     OF NOISE
     FILLING UP FULL

    EAT OPENED CANS OF LOVE
             WITH FINGERS.

THE SOUND OF TAUGHT SOLES
    ON HARD SURFACES
    I CAN- NOT- MOVE
         QUICKLY.
    I LOST- WHAT
       I WAS WATCHING-
        I AM ONLY-
        AND NOTHING
           FILLED WITH
             EMPTY ATOMS
    HELD CLOSE TOGETHER
        AND MOVING
        AS EVERYTHING IS-
        MOVING
        IS THIS WHAT WE CALL DANCE?
      IS THIS WHAT WE CALL
         BREATH?
       IS THIS THE ESSENCE
        OF ACROBATICS?

        I AM QUANTUM
               PHYSICS.

I TRAVEL WITHOUT MOVING
    I AM
           WONDERING
    WITHOUT CARING
        OR HOLDING
              ANYONE TO IT.

I WANT TO WEAR
    MY FACE PAINTED.
    GARISH-
       ILLUMINATED
        LEWD
I BREATH IN EXPERIENCES
      WHICH COULD PERHAPS
    BE EXPLAINED,
   LEAFING THROUGH
      PAGES OF PHYSICS
        AND MYSTICISM

WHAT IS CONSCIOUSNESS
       TO TELL ANOTHER WITH
        NO CLUE.

WHERE DO I BEGIN,
         AND IS THERE
    AN END POINT.
     CAN I BE
   MAPPED LIKE
            A CONSTELLATION
       OR MOUNTAIN.

REDUCED TO END
    POINTS. ALL POINTS,
         JOINED TOGETHER. -
       ARE ATOMS
THE SMALLEST ISOLATIONS -
                SEPARATE ?

SEPARATE FROM EACH
      OTHER BUT IN A DANCE ?

    SOUND - MATTER - WAVE - CELL

DO WE EACH
       HAVE OUR OWN
         SEPARATE COLLECTIONS
        OF OSCILLATION?

WHERE DO I BEGIN + END ?
    ONENESS ?
          I LOVE IT AND
             ALMOST UNDERSTAND -
    COMPRE-  SLIP
           IN AND OUT
          BEYOND OBVIOUS
     REACH OF INTELLECT

  CLOSER THROUGH
      MARK MAKING,
       EMBODIMENT,
      ASCENSION
            TO
      FREQUENCY, ORGASM.
          ELECTRIC
      BOMBARDMENT
           OF EMPTINESS

I AM SITLL
AND EVERY  THING     MOVES







chay-ya
streaming/writing while
watching/ experiencing
brooke amity stamp’s performance
at MCG
29 May 2010, 6pm

 drawing i made of cells, 

during bmc research group after doing hands

on cellular breathing

chay-ya
bmc into performance research

23 may 2010

light filled oceanic whirls of saddness and latent melody crumbling into sparkles of nothing

Your grief for what you've lost lifts a mirror
up to where you're bravely working.
Expecting the worst, you look, and instead,
here's the joyful face you've been wanting to see.
Your hand opens and closes and opens and closes.
If it were always a fist or always stretched open,
you would be paralyzed.
Your deepest presence is in every small contracting and expanding,
the two as beautifully balanced and coordinated
as birdwings.

Rumi - from the poem Birdwings

But can you dance?


I have sent you my invitation,
the note inscribed on the palm of my hand by the fire of living.
Don't jump up and shout, "Yes, this is what I want! Lets do it!"
Just stand up quietly and dance with me
from the poem The Dance 
- Oriah Mountain Dreamer

What if there is no need to change, no need to try to transform yourself into someone who is more compassionate, more present, more loving or wise?
How would this affect all the places in your life where you are endlessly trying to be better?
What if the task is simply to unfold, to become who you already are in your essential nature - gentle, compassionate, and capable of living fully and passionately present?
How would this affect how you feel when you wake up in the morning?
What if becoming who and what we truly are happens not through striving and trying but by recognising and receiving the people and places and practices that offer us the warm encouragement we need to unfold?
How would this shape the choices you make about how to spend today?


What if you knew that the impulse to move in a way that creates beauty in the world will arise from deep within and guide you every time you simply pay attention and wait?

How would this shape your stillness, your movement, your willingness to follow this impulse, to just let go and dance? 


from The Dance - Oriah Mountain Dreamer

Question: support precedes movement?


present in process

    _____

deep listening of the
bodymind
can lose the
tracking of the brain-mind

    _____

disentangling of the
brain-mind tracking
(and coming)
into the
intelligence of
the cells

    _____

billions and billions of
cells

    _____

cells emit light

    _____

coming back through
developmental patterns
I felt I couldnt
attend to them with
full consciousness

    _____

on rising and integrating
the work through
own movement
I found it easy and
full to move
movement being full

    _____

supported by space
inside space
outside space

    _____

felt like same consistency

    _____
   
full

    _____

supported by cells

    _____

clearly embodied cells
    _____

feel like am embodying
the cells of
the space around me
the cells of the air

    _____

can you embody air?
are you embodying the
physicality of air
or your own metaphysical
bodies?
is embodiment presence?
is embodiment consciousness?
to what extent can you
be embodying?
can you embody the universe?

where is the line between
embodiment and consciousness?
is there one?

    _____

is embodying consciousness
different from embodying ones
physicality?
how? why is it different?

    _____

after a process of ‘conscious’
embodiment of the cells of
ones physical being
contact with objects and
furniture feels different
there is a softness and fluidity
but it is not an empty feeling,
collapsing into external surfaces --
there is tone and fullness
a sense of integrity,
resilience and oneness.

    _____

i feel a profound tiredness

    _____

the feeling is restful
in itself

    _____

aware of waves of motion

    _____

the motion of days
rolling through waves
and tidal patterns

    _____

in each moment
the waves and tides
moving through us.



chay-ya
bmc into performance
research
with kim wishart
3 may 2010

 

My little brother of wonder aged 5.34 years old celebrating my 25.5 birthday with some impromptu party hat performance art.

chay-ya
bmc into performance
research
with kim wishart et al.
10 may 2010

one experience contains a thousand thoughts in every direction
connections made between points on these lines.
_____

any one point in the body
by way of direct or
indirect linking is in
communication with all
and any other points
in every moment

the concept of these points can be extended into all
related etheric and metaphysical bodies connected to the
physical body in consideration.
_____

on the bus I had a sense of myself being one dot and
being connected to every other person dot in the universe
 and then that all cells, matter, and vibrational dots are also connected to every other dot.
and we are each connected to many many dots
if not truly everything at the same time - there is an indirect linking through another who is directly linked.

There are lovers content with longing.

I’m not one of them.

-Rumi

After seeing a performance at the Centre for Contemporary Photography called Duelle - 'A dance performance with photographers'
I found myself in the studio considering what it meant to have a dancer and a photographer inside you. Both.

It happened quite naturally and without planning. Firstly I liked the way the light looked and so started taking photos (after having laid on the floor of the studio for 3 hours) and then I played with how the space looked through the eyes of a dancer, and then what my body looked like in space with the restriction of taking the photographs manually myself.
More photos


19 December 2009
Cecil Street Studio

 

19 December 2009
Cecil Street Studio

oliver emailed me a picture of iceland. 

i found it again today and put it up there 

where we can see it all the time.

a word spoken becomes vibration

s  p  a  c  i  a  l 

    affects   like   ripple

        electrical current

a spoken word goes through

    time and space travel

 concentration and diffusion

sound - matter - wave - cell

      play with

       how much

         release

    place syllable spatially.

       spaciousness

       volume

             annunciate

          watch

             response

       word becomes

       impetus, partner

          part of construction

           affect

         without

        overt

chay-ya
bmc into performance research
after- speaking writing 
during witnessing

24 may 2010

Joy Conspiracy (Jet Rachel Faith Williams and me, Chay-Ya Joy Clancy)
i took all photos whilst moving and rachel was playing
they are my toes

March 18,  2010
Dancehouse (gallery studio)

Less moving as perception,

but

moving being perception

and perception being movement. 

written in alice cummins bmc class
earlier this year
in the senses/perceptions work

reminder:

to find space to blog

acknowledge things found out
in months gone by

remembering: id even started this.
becoming more relevant.

 This is a friends project 'Treasure Factory'.

I spent a few hours everyday last week working in Cecil Street Studios on my own and with guests. It was really great. I wrote a lot and lay down and slept on the floor, danced, leapt, discovered  things. Will put up things here soon - all in good time.

working with buildings without buildings within the
structure between the walls
decapitated roof tops, score and extracted infra-structures
emphasizing internal structures through extraction
displacement and alteration
removal at special points of stress
opening spaces to redistribute mass
the ambiguity of place versus object
working with absence
the whole house works to receive an intrusion...

Gordon Matta-Clark, text from Open House exhibition recently at the Arts Centre.

synapse |ˈsinˌaps|
noun
a junction between two nerve cells, consisting of a minute gap across which impulses pass by diffusion of a neurotransmitter.

THOUGHTS ABOUT THE WORK & PERFORMANCE

by Daniel Lepkoff

„As a maker of dances, a designer of theater and an improvising performer,

I am not specifically interested in presenting “dance” movement on the stage.

What is happening

at any moment,

I see as possible material that can be placed in a dance frame.

Each of us exists in an on-going physical dialogue with our environment,

tuning to the details and nuance of our own and

each others’ movement behavior and to the conditions of our present moment.

We observe, we feel, and we act.

We create our own images and

construct our own understandings.

Ordinarily this activity is unconscious.

In the theater I want to stimulate audience and performer alike to consciously and actively create their own images,

and so my work is designed not to tell the audience what it is they are looking at.

Inside of a moment of disorientation, of not knowing, lies an opportunity for a person in the theater

to create their own story.

In these times, we are surrounded by media images designed by others

to manipulate our attention and to control what we know and do not know.

As an artist, the performance event offers me an opportunity to create,

Empty Space.“

imagine a pencil or a ribbon of ink falling from the point of your elbow.
be aware of the line you are drawing in space.
you can imagine the drawing happening on a ground, any plane or 3-dimensionality.
how does repetition,
tone, tension,
quality of movement affect the drawing?