To begin with, I would like to invite you to experiment with few questions that are relevant for my ongoing artistic research project Choreography as a reading practice. It is enough to just observe, what these questions do.
How would you describe the movementsthat are present in this space?
Bring your attention to the temporalities of the movements. Do they extend beyond your life-time? How is this building in decaying movement?
Would you say that movements are partly producing this place?
What about the spatial scale of these movements? How would you embody for example the orbit of this place around the Sun, the velocity that is here?
What about that orbit’s relation to the movement of the movement of this building decaying? How do you take place in that relation?
If this place and material surrounding is constituted by various movements, how would you embody the relations between movements that you recognize? Or do you recognize the motional relations by embodying them?
If everything moves, how do you take (a) place here?
The questions above have been used as a warm-up for the #CHARP, but they are mainly indicationg to the field in which my doctoral artistic research project takes place. I have collected some further questions here, which have been important for me during my doctorate.
In your everyday life, in what kind of situations do you recognize or become aware of movement?
How does movement produce that moment or situation?
How does movement create conditions for your everyday life?
When you think of your artistic / professional practice, when and where does movement usually appear in?
How is movement defined in this context?
How would your practice change if movement was no part of it?
What happens if you leave movement alone? Where and when do you leave it alone?
How would you describe the movements that are present now?
How would you describe stillness, complete stillness?
How would you describe the difference in between ‘movement as a flux’ and ‘movement as a potential for cut’?
If movement was an object, what kind of an object would it be?
What kind of movements do you think I like?
What do you know about movement? What was taught to you in a school about movement?
How would you describe the choreographies that your body is already part of?
On your way here, how were you choreographed and by what or whom?
What do you understand by the word choreography? Or choreographic thinking?
Is choreography and movement related? If yes, how?
What happens to movement when it is mediated to choreography? To dance? To sculpture? To music? To poem?
Complete the sentence: Choreographer is a person who….
Complete the sentence: Choreoreader is a person who…
What are the skills and sensitivities that a person who can be called ‘a choreographer’ / ‘a choreoreader’ needs?
How would you describe the relation between movement, place, and space?
Are they interdependent? If yes, how? What does this interdependence do?
If place can be thought of as a structure, how would you describe it?
If this structure is dependent on the interconnections of the elements that produce it, how would you practice choreography in this interconnective pattern?
How choreography is related to place? To space?
How would you describe choreography as an artform of relations?
Does choreography sculpt the air? If yes, how?
How would you describe the relation in between context and situation?
If everything moves, how do you take place in that movement-mesh?
If you think of choreography as a writing practice, and then shift to think of it as a reading practice, how would you describe this shift?
In this specific choreographic practice, what is the difference between perception and reading? What is their relation?
What is the relation between sense and meaning in this specific choreographic orientation?
What are the differences of the exposed reading practice to other somatic or choreographic practices?
Is reading witnessing, observing, or answering, or something else?
Is choreography as a reading practice productive or generative?