some spaces to search

Seth Godin wrote this on a blog post called Did you do the reading?:

The reading isn’t merely a book, of course. The reading is what we call it when you do the difficult work of learning to think with the best, to stay caught up, to understand.

The reading exposes you to the state of the art. The reading helps you follow a thought-through line of reasoning and agree, or even better, challenge it. The reading takes effort.

some questions that shouldn’t be a surprise

These questions are pretty direct and they shouldn’t be a surprise. I would suggest writing direct answers to these questions as part of your ongoing work (some will be harder to respond to than others). Be as succinct as possible. Post to your respective blogs. Perhaps even do new versions every 3 or so days. Treat the responses lightly, and with utter seriousness.

  • What have you been doing (as practice)?
  • Who else has done similar kinds of practices?
  • What texts seem influential or relevant to this practice?
  • What do you plan on doing for your dpar project?
  • Why is it important? (How might it matter? So what?)
  • How will you do it?
  • What plans have you made for documenting or producing ‘additional materials’ for the project?

Any questions?

being curious

These are Emilyn’s notes and questions from today.

Phenomenological Enquiry. Or – Being Curious:

  • What do you notice when you do that?
  • What happens when you do that?
  • Is there a history that comes with that?
  • What is the memory you have with that?
  • What happens next?
  • What happens if you do the opposite?
  • Can you exaggerate that?
  • What happens now?
  • Can you describe what is happening?
  • As you talk about it, what else is happening?
  • What is not moving?
  • How do you do that?
  • Teach me how you do that?

Lines of flight

Multiplicities are defined by the outside: by the abstract line, the line of flight or deterritorialization according to which they change in nature and connect with other multiplicities.

Deleuze & Guatarri 1980 A Thousands Plateaus p. 9


  • What meaning do you make of this?
  • What wider contextual ideas emerge?
  • What do you take from this?
  • What is no longer useful to you in your practice?
  • How does this change my practice?

some questions to consider (in silence)


Regarding your practice:

  • How does it fit (or not) with the lists of *practice* and *research* generated during the class?
  • What are your interests?
  • Do you have any questions about your practice?
  • Any ideas about how you might address these questions (through practice)?
  • Anything you’d like to change about your practice? How?
  • What kinds of relationships exist between practicing and making/choreographing?