Page 48 - radio strainer

4. Instead of a reiterative or poetic conclusion, could it be just a whole page of questions?
What might it mean for Radio Strainer to be mapped in dark writing? How might we bring an artistry of listening and attending to micro-symphonies of everyday life? What does this mean in a choreographic practice? How would the material preparation for rehearsals manifest? How different would this be from a conventional rehearsal space? Do you need to warm up the muscles of drawing and writing just as you warm up the muscles of movement? Does interweaving narratives of pregnancy and motherhood bring another relevant dimension
to the conceptual terrain of practice-led research discussed here? Do these narratives of motherhood have relevance beyond this specific case? Are there contradictory tensions at play in attempting to move between states of reflection? Won’t our muscles get cold when we stop to move/ write and draw? Won’t we lose the somatic engagement with kinesthetic trajectories? Or could we see this drawing as a movement practice? Could we see all of these practices as detailed choreographies in the same trajectory of movement? What about training? Are we naive artists? Isn’t that embarrassing? Might there be a sense that certain kinds of conventional mastery can only articulate majoritarian knowledges? Could we think of this as a choreography of the minor, where our sophistication is in listening, refining, organizing and mangling? What does it mean to move translation theory into a practice of embodiment, where text is no longer taken for-granted as the primary site of meaning and exchange?
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