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There is a bit of white between my heart and my stomach

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There is a bit of white between my heart and my stomach. That was how I felt the project. In an empty and unreachable space, where there is no pain. Smooth, light and heavy at the same time. Sometimes I went there. Entering slowly as a current of devoted souls in the end of a Sunday mess. And I questioned. How should we refer to that spot below my heart and above my stomach? How to explain to others these spaces in me to myself? How can the project participants say it?

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During these thoughts my dog ​​ has spoken to me.

- You do these things just because you want to get out of that chair! but ... while you're finding a certain excitement in writing. You want to explore the secrets that your senses can never serve. There are limits in our world, you know? Asked my dog.

And I answered with more questions - Do you think it's really a limit? We can always differentiate "outside" and "inside", no?

I do not know. - He replied - My world is just what my senses tell me. ... and I say no more right now.

I could not answer him and, nonetheless, inside me a piece of white (between my heart and my stomach) a sentence was floating.

 

“If a thing can be conceived as non-existing, its essence does not involve existence.”

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In the creative act, from a RELATIONSHIP body | writing, shall be deemed or considered by multiplicity of roads that open up and with styles that will be possible (Adorno, 1958): Aphorisms, fragments, essays ... Not intended to be imperiously exceeding nor subdued to hegemony theory and academic knowledge. In the act of creation a body | written does not emerge over or with quantity references, but from and with them (Deleuze, 1992, [1991]) and are not exposed to the relativity of academic knowledge but supporting the multiplicity of meaning.

 

“We enjoy the process of self from two points of view. One is the point of view of an observer who enjoys a dynamic object - dynamic object consisting of certain operations of our mind, certain traits of behavior and a certain history of our life. The other point of view 'of the self as "knowledgeable", the process that gives a center to our experiences and ultimately allow us to reflect on those same experience. (Damásio, 2010, p.25, own translation)

 

In its movement a body | writing relates to other approaches that differ from reality himself and intends to bond with the procedures of philosophy, literature, science and art, while it has an ethics and critical acceptance of the possibility to revise their opinions.

 

The output of texts was not a difficult task, although participants preferred dance. Some made ​​comments like "it was easier to write because first we experience with the body" or because "we think of questions before writing" or other reported that "did not cost much because we already had training on writing". The workout settle many issues. Experience, in this sense, states that a written form from a set of internal relations with dance, which exists as power, assuming that the creator (dancer) learned the syntax and semantics of instinct, muscles and tendons , codes of body, the curiosities of movement and scripture.

 

And so, there remains a piece of white between my heart and my stomach. I do not know how this place is called. I do not know how to explain to others. I do not know. But it exists. I saw it. All participants saw.

 

 

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Descrição do trabalho desenvolvido com os alunos

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Curiosidade de movimentos do corpo que sabe:

De um gesto que se anuncia antes da sua concretização. Uma leitura que todos adivinham. Uma acção objectiva. Um prenuncio de objectividade consensual. Sem margem de dúvidas. O corpo adivinha. O corpo entende intimamente. Projectamos para receber. Experimentar cumprimentos e verificar como reagem as pessoas (o que oferecemos e o que recebemos). Direcção. Olhar, apontar. Apontar. Ligação do desejo para o objecto desejado.

 

Como é esse espaço que se cria entre movimentos?

 

"Há um pedaço de branco entre o meu coração e o meu estômago.  Como devemos chamar a este lugar debaixo do meu coração e acima do meu estomago? Como explicar aos outros este espaço de mim para mim? Como poderemos dizê-lo?”

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Atividade: Recordando as memórias pessoais, foca-se numa imagem específica e situe-a um lugar específico. Visualise esse lugar.  Fazer o que entende desse lugar. Considerar a estrutura, a cor, etc.  Como é a luz nessa memória. Que sensações evoca esse uugar.  Mergulhe nas suas memórias. “By focusing on our human bodies as the vehicle through which we experience ourselves and the world around us, we learn to value the earth equally to the self. Thus, the perspective is both anthropocentric (human-centered) and ecocentric (earth-centered). The body and the earth are complex and profoundly interconnected entities developed through billions of years of evolutionary process.Our task is to develop a dialogue with this inherent intelligence—to learn to attend. By enhancing active awareness of our bodies and the places we love, we deepen our engagement in the intricate and delightful universe we inhabit"(Olsen, 2002, p. Xxii).

 

Escrevam palavras no corpo. Palavras que acompanham as direcções dos movimentos e que revelem as vossas memórias.  Vão construindo uma sequência de movimentos em simultâneo com as palavras que escrevem. Criem “pedaços de branco”.  Pensam nesses espaços. Mostram as sequências de  movimentos.

Assinalam e  escrevem as  palavras na  imagem de raio-x42. Criam espaços com  as palavras/direcções.Tentam responder às questões:

Como devemos chamar  estes lugares ?

Como explicar aos outros estes espaços de nós  para nós?

Como podemos dizer-los?

Que sentidos é possível estabelecer entre os exercícios propostos e a possibilidade de investigar? Algum dos corpos ali presentes produziu conhecimento? Que conhecimento e como falar desse conhecimento sem uma racionalização, descodificação e codificação permanentes?

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42 Nota: primeiro raio-X de corpo inteiro de uma pessoa viva (1907). Totalmente vestida. Uma imagem de um paradigma que aceitou expor e exibir o seu EU mais íntimo

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