clothing workshop

1.tropism -- question of transformation/movement

tropism = habit + routine (past + present)

immanent to process/body/becoming

passing passage -- prehension “drawing eventness onto/into”

not decipherment -- sensing-seeing-feeling

relational activation

relational environment

relational negotiation

negotiation -- trigger and custodian

bodies moving with a landscape mapping movement in movement

landscape as time/movement relations

topography -- topology

topology = qualitative surfaces in becoming

lived experience of multiple dimensions

blink between modes

multi-senses

relation of movement to itself = dead reckoning

2.diagram -- immanent force of potential that activates (composition -- sort of...)

non representational

biogram -- lived diagram lived map

multimodal

envelopment (not abstract)

fields of relation -- becoming body

space contagion

mapping: not of territory but of passage -- discovered through engagement

asignifying traits

rhythms oscillations -- germs of a rhythm -- that unlocks areas of sensation

directional tendencies

perceptible in action as a moving with

actual and virtual

1.sensations -- percepts and affects -- percepts are not perceptions and affects are not feelings -- percepts are independent of a state of those who undergo them and affects do not arise from subjects but pass through them

2. Questions:

1. how does a becoming world emerge in clothing? If we are not trying to pre-map experience but trying to draw out a series of immanent forces and emergent relations through clothing

to call forth new ways of seeing, feeling, moving, acting -- modulating tropism's

clothing as headings movements becoming movements?

clothing that is co-extensive, ontogenetic networks of reciprocal exchange

past activated in the present passing

the production of timespace/movement

2. how do we create clothing that are not entered into or that we inhabit but that are co-creating? Clothing that emerges from movement?

an ethics of encounter with the unknowable to situate land, body, space, time, experience in one structural node?

neither abstract nor concrete -- but how they overlap -- flow

to put experience at stake in the making of experience

3. how do/can clothes orient us rhythmically (foreground proprioception) -- invert position to movement?

experience + ability

landing sites

create relays

space performed

topological hyperspace of transformation

process -- ontology of continuous deformation/modulation

not object but relationscape

lines are danced

4. How are clothing's self forming forms?

ongoing self shapings, ongoing self-sustainings

vistas of metamorphosis?

logics of transition/modulation -- qualitative topologies

clothing that only coincides with potential -- a modulator of modulations -- placing relations against relations

participation -- differential participation -- onto-topological -- ontogenetic and autopoietic

3. modes of encounter

how do you not be muscular? clothing as muscles and tendons -- displace/modulate skeleton/tendons

tendency -- heading -- externalization of energies

balance as tension = held movement within tendons/skeleton --

destabilizations

posture production -- new rest points -- become space -- a moving through (speed to slowness) micro-postures

sling strap elastic pole channels

systems to focus on dead reckoning -- self referencing movements

a way to meter the shifting in and out of perception -- to snap into and out of ...

produce new rhythms -- affective connections and interruptions

(gum as terminus, landing sites)

what started to develop: a tendon sensing system. fibrous matter that connects muscle to bone in acts of tension. contractile filaments in tension with dense structural tissue.

how we scale our bodies our materials our environment to perform as a larger sensing system that continually re-engages.

to rethink this idea of micro-postures micro-urgencies micro-tendencies, etc. in this sense, as they are really nested postures, i.e. postures that have no scale to them until they are activated with other postures. the nesting is an emergent property, one that doesn't know what scale posture it needs to have until it is activated. so i would only like to say that we should move away from language that prescribes scale, and give the patterns the affordance of nestedness. this seems a good way to think how to diagram the patterns, how to read the diagrams in the space and how to cultivate a temporal logic of nested times.

referring to the materials for their physical properties, i.e. tensile strength, contractile structure, etc. this helps to open up the question of patterns in relation to more types of materials, not just fabrics and textiles. the magnets are alloy material, but were structurally integrated into erin's pieces - a type of weave between types of materials. it would be good to think even how to push further integration. the life cycle of materials, their decay to thermal, atmospheric, solar, hydrologic, geologic, cultural, political forces affords them tremendous transformation OVER time. what does it mean to bury the clothing, or to grow it, or to harness it for energy? it was wonderful to feel the heat in the magnets of erin's black pieces, and know that they store these potentialities. how to really push this now with the conceptualization of the patterns?

4. rules to shift roles/meters

the production of a new rhythm of stutter

micro-movements, tendency, pattern

folding-in space

non-rest space/non coding -- long duration of lostness

line following

contract seeking

light blinding

point pausing

point rupturing

situated seating

looking up