Page 84 - the foreign language of motion

the fact that it folds back into, subjective and intersubjective experience. (Pakes, 2009, p.19, authors’ emphasis)
Discussion of performance logics in this project align with Pakes’ articulation of phronetic knowing, as this study emphasizes emergent, particular, subjective and intersubjective knowledge. Such knowledge arises through practical wisdom in which there is no consistent rule to guide decision-making. Rather, a guiding logic is informed by specific aesthetic and kinesthetic concepts that change radically from project to project.
The Collins Paperback Dictionary defines the term logics as “a particular system of reasoning” that could relate to “the interdependence of a series of events or facts” (Collins, 1999, p.473). The ‘system of reasoning’ that leads from one idea to another in dance practice is very particular – both in terms of practices specific to the broad field of dance and in terms of the enormous diversity of ways that dance practitioners generate their work. This way of considering the movement of performance concepts recognises both the singularity of processes and the possibility that specific tactics can be adapted to new creative sites. As Hélène Cixous writes, “what I have to tell you cannot be generalized but it can be shared” (Cixous, cited in Bottoms and Goulish, 2007, p.192)”.
John Hyde Preston: But what if when you tried to write, you felt stopped, suffocated, and no words came and if they came at all they were wooden and without meaning? What if you had the feeling you would never write another word?
Gertrude Stein: Preston, the way to resume is to resume. It is the only way. So how can you know what will be? What will be best in it is what you really do not know now. If you knew it all it would not be creation, but dictation. (Preston and Stein, cited in Simon, 1994, p.155-156)
In his book Parables for the Virtual (Massumi, 2002) philosopher Brian Massumi critiques post structural discourse for its focus on how inscriptive processes of language prevent rather than open up spaces for consideration of the sensorial implications of the body. He discusses the philosophical implications of allowing meaning to be unstable and proposes a practice of writing which moves from theories of positioning and inscription, to ones of transition and mobility. He argues that the complexity of these processes of movement engender ontological insights that offer fertile ground for philosophy. In order to create space for transition, sensation, and movement Massumi proposes that writing must entail risk:
The writing tries not only to accept the risk of sprouting deviant, but also to invite it. Take 58