response
BINDA
Helices leaves me adrift in an embarrassment of riches. This particular movement is inviting examination of the sensations of RECEIVING a praise song. Block & questions noticed in diaphragm: is it appropriate to freely respond? Seems so silly to ask… the answer is, “Of course!” But the block is conditioning — smushy logic. If you respond to the praise song, you are accepting the praise, and that is vain, arrogant.
That is a shit-ton wall of blockage.
So I will climb over that wall into the wild garden.
And there:
every pore opened by ceremony
trees have personhood
story is a vessel for holding complication
It’s a portalling place, an emergent, interstitial place
It asks, “What if?” and uses the language of imagination. It keeps it interesting —> to be between. Inter-rest. Inter-titillate
Jenny Katz says: “Maybe the witnessing (praise-songing) is the twist of the strip (mobius) that turns longing into belonging.”
Hannah Fuller-Boswell says: “Dissonance makes resolution sing.”
The mobius strip of longing (tears) + belonging (seeds) in the blood
be + long
It’s a hypersphere sensation. Really hard to draw!
In this wild garden, this truth is ready to be plucked off the trees:
“Love said: If you bring forth what is within you, what you bring forth will save you. But if you do not bring forth what is within you, what you do not bring forth will destroy you.” — Kae Tempest, “Grace”
I see that these movements are poem stanzas (root of word poem: to make) made with the math logic of 1+1=3.
The three-dimensional layering that happened in Movement 5 was such a potent tilt for me that I wanted to keep playing with that in Movement 6, – continue the hummmmm – and try to get at the various layers of Jenny’s praise song. For the Movement 6 booklet, I used vellum as a window that reveals the underlayer drawings.
