Page 96 - the foreign language of motion

In a choreographic process ideas circulate between bodies, movements, dances, pages, sound scores, scenographic elements, etc. This circulation through differently constituted bodies creates a play that for some choreographers is necessary for a performance to come into being. the kinesthetic archive project considers writing a productive force that brings new ideas into being out of the difference between (for example) moments, cultures, vocabularies, perceptions, people, forms. I am considering the performance event as a fulcrum that heightens the conceptual momentum of a given work to travel beyond the bounds of its processual development. In the same way, your body can be considered to extend out far beyond the edges of its skin surfaces. As Gil writes, the space of the body “prolongs the body’s limits beyond its visible contours; it is an intensified space, when compared with the habitual tactility of the skin” (Gil, 2006, p.22).
The body is composed of special matter, which gives it the property of being in space and of becoming space. That is to say, this body has the property of combining so intimately with exterior space that it draws from it a variety of textures...the body’s texture is spatial; and reciprocally, the texture of space is corporeal. (Gil, 2006, p.28)
The terms ‘kinesthetic’ and ‘archive’ are rich with problems, they sit at the cross-roads of binary assumptions as though to divide the document from the cellular, sensation from information, the ephemeral from the official. I chose to title this work the kinesthetic archive project in an effort to blur the boundaries between the document and the transitional, to create transitional documents, to create text that performs its emergence out of bodily practice. If an archive is an historicizing document of past events, it could be that a sense of linear time is embedded in this term. Does the term archive imply a (problematic) binary between past and future? Does it imply that the archive and its contents are somehow separate from the performance event?
Brian Massumi’s discussion of ‘incorporeal materialism’ (Massumi, 2002) discusses embodiment in terms of the centrality of sensation to knowledge and being. He argues that in order to perceive the formative role transition plays, we must recognize the virtual aspects of corporeality, which exist in relation to continuous motion rather than fixed positions.
When a body is in motion, it does not coincide with itself. It coincides with its own transition: its own variation. The range of variations it can be implicated in is not present in any given movement, much less in any position it passes through. In motion, a body is an immediate, unfolding relation to its own nonpresent potential to vary. (Massumi, 2002, p.4)
Massumi’s discussion of transition and embodiment draws on Bergson, Spinoza and Deleuze (among others) 70