if . . .

"Where have you been? Think of the first place you remember living. Think of the streets, pathways, bodies of water, train tracks and intersections that you remember. Try to remember the relationships of each. Find the farthest edges of each in your mind." (memorymapping - [ expandedfield.com ] ) - See: Terms :: note :: . . . always by a river . . . sand underneath foot . . . the opposite side rising towards an open expanse . . . ceaselessly changing sky . . . most often the calling of geese . . . to get to the river i must cross train tracks . . . the words of my mother warning "never cross the tracks". . . the water flows fast with a huge overgrown island in the middle . . . an iron bridge on one horizon & a concrete bridge on the other . . . a beaver swims silently by . . . the schoolyard is a couple of blocks behind me . . . i'm alone . .

. . . way too long ago, in the days that have been come to be known as the "AMOK Time"(1979), I called myself terroristDuck . . . an illegitimate offspring of Katie Duck . . . performing on the streets of Rome in a piece called "Red Trees" with Ily . . . a dangerous, playful era . . . the times they have a'changed . . . names may still be found though the language has developed . . . these past few days have been a treasure chest of internet searches where the past boldly prints to screen . . . try it - search your past . . . it's been fun . . .

Arise, all women who have hearts, whether your baptism be that of water or of tears! - Julia Ward Howe.(1870) (please visit code pink

"The best relationship between two people goes by the proof of permitting deep honesty. To speak and to be spoken to freely is the just measure of loving affection." ( nqpaofu: get go )

. . . spent the weekend (Thursday - Monday) in architectural spaces carefully constructed with the sound of the word & the sound of the sound in heart&mind . . . not with the skilled, trained artist . . . with the young in the midst of discovering/exploring what the artist is in them . . . . . . they take the stage . . . a precious instrument . . . to listen to the before . . . prepared they arrive and humbled they depart informing the next . . . . . . dear are those spaces where we shape our thoughts and words and actions . . . attentive to the colour, the texture, the breath, the palette of relationship, the character . . . the place we question and celebrate again & again . . . over and over . . . what is the meaning . . . this life . . . lest we forget . . . . . . from further away a traveller writes: hi I am in Berlin, Germany. I still cannot believe that I am in Europe. It is a very overalming experience here. Everything in berlin is in the construction burying over t...

... "to people I meet: 1. Their willingness to listen to new ideas, 2. Their willingness to engage in dialogue. I hope educators catch this concept soon... I'm afraid it's not yet making a significant impact in most traditional institutions." (gsiemens/elearnspace blog: What is Important to Me Now)

. . . "thanks, but I've always understood singing as an act of self-abnegation involving the creation of beauty through the annhilation of one's own ego. I have no desire to sing alone." . . . (Alex/ GolubLog . The Singer is a Mirror's Best Friend) . . . "I think I like mode best. Of course, it helps that it contains the word ode, which comes from the Greek verb 'to sing'. . . . But what does a mode connote? An arrangement of notes. A way of doing things. A center of resonance. The most frequent value in a sequence. . . . Rather than thinking of blogging as a form, which would assign a sort of ethical value to it, or as a medium, which implies that it is a transparent channel, I would like to think of it as a mode. A mode is not a window into a new public. It is a tunnel through which certain things resonate - and are amplified or dampened." ( Jeff /this Public Address 3.0. M(0de)) . . . "For the Navajo, the magical power inherent in...

. . .The key concept here for Bachelard is that of rupture, which has four epistemological aspects or categories. These he terms breaks, obstacles, profiles and acts (Gutting, 1989). . . The implications for education from Bachelard's work include at least: the account of rationality; the importance of teaching the history of science and not merely science as it is now; the implications for those research methodologies which appeal to 'a' philosophy of science; the importance of the imagination (in his sense) for rational thought; and the notion of conceptual discontinuity in scientific thought. - (Jim Marshall. Encyclopaedia of Philosophy of Education : Bachelard)

home is less and less what's around lose yourself to find yourself enter the battle the words of students surprise if you let them human frailty demands a human wall(wail) we met for a reason the scars are (in) visiible sweat it out how do you know no when caught they take you home i gotta go now the sun is coming up . . . it's part of what makes someone a true Artist. There must be a willingness to risk all with a work that eminates from that quiet place where only you can go. . . My guess is that your students lack(ed) the willingness\ability to do the hard self-introspection required to do anything beyond the surface. Most people lack that trait. (fivecats in the comments of jill/txt: dare)

"He proved long ago that the intimate yearnings of ordinary people are destructive . . . " ( nytimes:arts )

". . . Rather than answer the question (I am trying to stop being a teacher who has answers, and to teach students that the way to learn is not to treat their teacher as the knowledge source that fill's their empty minds) I suggested we try to find an answer in our first lab."( vog blog..vlog2.0 )

. . . a while back, among the community of bloggers i visit, was an emotional discussion which occupied a lot of screen & transformed into an on-going thought thread in my mindspace . . . i don't participate in most of these hot discussions . . . simply read and check my responses . . . came across Sue Ellen Cases's Towards a New Poetic which further stimulated but shed no new light . . . there was a call: "The feminist in theatre can create the laboratory in which the single most effective mode of repression - gender - can be exposed, dismantled and removed; the same laboratory may produce the representation of a subject who is liberated from the repressions of the past and capable of signalling a new age for both men and women." . . . what i discovered was that a simple gender switch, that is switching male characters into female & vice versa, wonderfully exposed the bias of western theater & allowed for new signs . . . it was such a simple action and i...

"Research writing begins with questions, and ends with actions - not answers." (This Public Address: Equal) :: comment :: . . . perfectly articulated . . . have spent years extending invitations to research physical responses to vibration and voice (teach the way of the actor, dare i say writing in space) . . . and students too often desired answers when the process required actions . . . take space to make space . . . making, taking, shaping, transforming, possessing . . . Magic Words after Nalungiaq Translated from the Inuit by Edward Field In the very earliest time, when both people and animals lived on earth, a person could become an animal if he wanted to and an animal could become a human being. Sometimes they were people and sometimes animals, and there was no difference. All spoke the same language. That was the time when words were like magic. The human mind had mysterious powers. A word spoken by chance might have strange consequences. It would suddenly come alive ...