spring writing

center and a circumference meets center and a circumference
a vesica pisces is created, a third space, an eye of the needle, a portal
before christianity read it as the bladder of the fish,
the fisherman, a fissure of men
the vesica pisces was widely understood to symbolize venus and vulva
this shape is round but sets up conditions for angularity, for ninety degrees
right angles are not invasive (obtuse) or evasive (acute)   

the shape comes from a layering
layered ego states
striations of spatiotemporal experience
repetitions of gesture, sensation, experience lead to psychic representation

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Drunken Boat Interview

Just for starters, what brings you here to Marble House?

DAGES:  From the first, our process has been collaborative.  We both have backgrounds of formal dance training and were starting to unpack the ways in which we taught to navigate the deployments of authority and power in a performance process. We were both reacting against the ways we had internalized the authoritarian structure of our concert dance training, and were looking for more rhizomatic, feminist ways of dancing. We were both craving a way of bringing agency and voice to our practice, and realized that we could be performance clay for ourselves, and not just for another.

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City and City

As a dancer, you are one body, trained and clearly individual. What kind of movement allows you to explore the interstices between your body and that of others? To explore the boundary?

Every body is a series of open ended questions. Our sensing, thinking, sensate flesh handles the complexity of simultaneously breathing, dying, eating, birthing, grieving. Our material, our embodied mind, is a canvas of multiple futures that can pop in and out of possibility -  a mosaic, an assemblage. Each one of us is already a third space, already queering nature/culture, self/other; our bodies are home to many organisms and affects - they are already multispecies entanglements.

Contact is a study in epigenetics - what happens when this stock meets these environments, when this ephemeral archive encounters that one? What gets turned on? What other possibilities, what other bodies might emerge? Without conquest, without seduction, without necessitating harmony, what might happen when we uncontrol our sociability, unhold our sense of boundedness?

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Marble House Project Interview Extract

Just for starters, what brings you here to Marble House?

From the first, our process has been collaborative.  We both have backgrounds of formal dance training and were starting to unpack the ways in which we taught to navigate the deployments of authority and power in a performance process. We were both reacting against the ways we had internalized the authoritarian structure of our concert dance training, and were looking for more rhizomatic, feminist ways of dancing. We were both craving a way of bringing agency and voice to our practice, and realized that we could be performance clay for ourselves, and not just for another.

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