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* We connect initially through talk and touch, which I am appreciative of. We need to listen to, see, and touch each other in order to know each other. Generally, we come to know something or someone deeply or more fully through all our sensory channels, through different perspectives and different ways of understanding or seeing. Doing this requires a continual release or dissolving of ideologies or blockages that limit our capacity to know or understand.  And I have a feeling it ceases to be overwhelming when you master the centerpoint of your own being in relation to the other. I sense that these ideas relate very closely to the kind of state of beingness that allows us to
tune into each other and into the dimensions of space, time and communication that Jens speaks of.
* We are opening space in a subtle way, and we realize that this reaches all in the space – no matter what their roles. The museum staff seem more tuned into what we are doing: on some occasions we are allowed to proceed for what seem to be lengthy periods of time while they are noticing us, while on other occasions, the camera is noticed and we cannot even begin filming.
* The nodal triad John, Jens and I hold throughout the Met is tangibly different than the triad in the open spaces of Times Square. The art is the other “node” that is there with us, and the enclosure of space creates a certain focus or amplification to our work, so we do not have to be as “loud” with it.
*We pass through an installation with moving mechanisms and a sound installation. The sounds carry through to the gallery space we film in and I feel this element of sound very strongly informing how I perceive the space and our interactions together…it is vibration, after all.
* There is a Picasso that wants to be heard. These paintings are meant to be seen, not heard, though i sense there is the vibration of sound incorporated in them.  I create a sound in my throat – a steady pitch that is not very low in tone – one that I sensed corresponded a bit more with higher chakras, or the chest or throat area of my body. I maintain this sounding for a long time. It just felt right, and that must be the feeling of trusting, and of not being afraid to express.
* At the end of our collaboration through the gallery spaces, I felt a kind of satisfaction of completion even though I do not consciously know what we accomplished. I rather liked that feeling of having trusted completely in the process I participated in, because it felt like there was nothing more to do or ask or know. No unanswered questions, no new ideas, no dilemmas, just a clarity of space deep within that is ready for the next thing. Almost like a sort of unconditional loving gift to the universe – giving, trusting, setting free, and letting go.


* Filtering out all the surrounding stimuli — ideas, sounds, language, colors, flashes, structures — it seems conceptually to be a cumbersome task, but I find it is not. To connect with the space and Jens and John, I need first to feel myself in this point on the earth, as independent as possible of all the rest of it. So while I am fully aware, conscious with all my senses, I extend my energetic body down, down into the earth and up up into the sky. My heart is my centerpoint and from there I radiate. From there I connect to form the third node to the triad John, Jens and I create. No matter where we are, practically, we create enclosure along the red steps. A kind of boundary of relationship and orientation and space-creation.

* I wonder at one point as people pass by, “am I in your way?”. Then another thought sequence follows: “I am my way. I am this way. I create my way and I create this way.”

* I am remembering the dissolution of the second filming by the tour bus hustlers wearing red jackets… We were there sharing the space together harmoniously for such a long time without any ‘correspondence’ until that moment. when it just happened in the right way, I could trust that any intentions or goals or egoic desires were dropped and out of the way, because that is when the unseen forces can flow through to create the waves we can ride.


“All that is solid melts into air.”

For me to attain something like focus in Times Square, I had to invent
games for myself that allowed me to dwell in this place rather than be
scattered by the many many stimuli. Games are activities that have their
end in themselves.

Reflecting back and continuing my games in thought, it struck me: Times
Square = time + space, a place where time and space become
indistinguishable, where space is dissolved into movement and where time
is spatialized at the same time, caught in an eternal present.

What kinds of games? For the most part, I was playing with my own
reflection on the red steps, observing how it crossed over the pattern
beneath, how the wind was tugging at little bits of hair. I was tracing
the outlines of surrounding buildings, I was looking at the angles
formed by buildings and searching for similar angles in other places. I
let my eyes follow the bird occassionally passing over us.

These games were fairly individualized, but I also played with the
reflections of other people. But overall I think I was seeking focus not
in relation to others. Occassionally I thought, is this too
narcissistic, too self-absorbed, too self-satisfied? Like I was doing
something wrong, not following the rules. But then I could just get back
into my games, which didn’t have any rules, at least not any that I
didn’t invent for myself.

I was amazed how I could be absorbed in these games, not become cold at
all, and I was also especially amazed how I never seemed to be getting
in anybody’s way.  Maybe because I was moving so slowly and had the
outward appearance of focus. On the street corner it was more difficult
to dwell in the same way, but still I was amazed by how little I was
getting in other people’s way.