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Dance Speech Database

Project S0MAi is an dance education database that can be used as an interactive dance software. With S0MAi dancers investigate the relation between dance embodiment and how to express these sensations in speech.

Inspired by the innovative research on speech and embodiment by George Lakoff and Mark Johnson in the 80s, I figured that to understand dance embodiment I could in the first place rely on a limited series of ‘experiential metaphors” used in the practices.
Therefore, I assembled a database containing dance-specific verbal expressions.

Which began as a participatory field-research in 2020 in collaboration with the dance educators, institutes, and international festivals. At this point I collected over 2000 dance expressions and created archives of 18 professionals dancers, researchers, and educators who gave me permission to analyse their somatic improvisation practices.

Together these database are the backbone of a software system that allows generative audio-scoring and visualization exercises for dancers and body practictioners.

With the support of: Royal Conservatoire Antwerp, University of Antwerp, Dance Academy Bruges and Brussels, Reach Studio, Art Centre BUDA Kortrijk, International Documentation of Contemporary Dance Education (IDOCDE), LACE, and Impulstanz Festival Vienna

Dance database in collaboration with:
Alain Caillau, Iamni Ramses, Dages Juvelier Keats, Glenna Batson, Susan Sentler, Alfredo Dilates, Jorge Navarro, Naoto Hieda, Liza Futerman, Maria Probst, Susanne Hochreiter, Myrna Garza, Eva Maes, Pavle Heidler, Kerstin Kussmaul, Defne Erdur, Deirdre Morris, Dilek Ustumalan, and the students and participants taking part in their practices.

Visualization exercises

1 Are you waiting to arrive in this place? 4_1/5_2_1
2 You wait in order to arrive in this place. 4_1/5_2_1
3 Have you arrived in this place? 4_1
4 You arrive in this place. 4_14 You arrive in this place. 4_1
5 Is this a meaningful place to you? 4_1/5_3_5
6 This is a meaningful place. 4_1/5_3_5
7 Are there differences in your sensations? 1/4_1
8 Sense the difference in your sensations. 1
9 Has your focus changed? 5_2_4/5_3_2
10 Sense the difference in your focus. 1/5_2_4/5_3_2
11 How does arriving feel to you? 1_3/5_3_1
12 Just a notion of arriving. 8
13 Are you arriving in your body? 2
14 Arrive not only into your body, arrive also in your mind. 2/5_3
15 What is happening with your sensations? 1
16 See what is happening there with your sensations. 1_1/1/4_1
17 How do you experience your body and your mind at this moment? 2/4_2_1
18 See what is happening with your experience of your mind and your body on this moment. 1_1/2/4_2_1
19 What is the distribution of your weight? 4_1_2
20 Distribute your weight. 4_1_2
21 Which parts of your body are touching the floor? 1_3/2
22 Parts of your body are touching the floor. 1_3/2
23 Are you tensed in certain places, or more relaxed? 4_3_7/4_1/4_3_5
24 There is tension in certain places, more relaxation in others. 4_1/4_3_7/4_3_5
25 What is the dynamic of your breathing? 2_4/4_3/2_1_1
26 The dynamic of your breathing fills up your body, breathing in. 2_4/2_1_1/3_3_5/2/4_3
27 When does your body explode with air? 2_4_2/2
28 There is a moment when your body explodes air, breathing out. 2_4_2/4_2_1/4_1
29 Do you create suspension in your breathing? 2_4/4_3_7/2_1_1/5_2_1
30 Do not create suspense in your breathing, it is more about becoming aware. 2_4/2_1_1/4_3_7/5_2_1
31 Are you aware of your breathing? 2_4/2_1_1/5_3_2
32 Be aware of your breathing. 2_4/2_1_1/5_3_2
33 Can you follow the airflow into your nose? 1_4/2_1_1/2_4/4_3_5/2_6/5_2_2
34 Sense, if you can follow the air that is flowing into your nose. 1_4/2_1_1/2_4/1/4_3_5/2_6/5_2_2
35 How far can you follow the air flowing into the nose? 1_4/2_1_1/2_4/4_3_5/4_1/2_6/5_2_2
36 See how far you can follow the air flowing into your nose. 1_4/2_1_1/2_4/4_3_5/4_1/2_6/5_2_2
37 What is the information you take from the air? 2_4/2_1_1/3_1
38 The air flowing inside your nose is informing you. 1_4/2_4/2_1_1/3_3/4_3_5/3_1/2_6
39 How far can you follow these sensations? 1/4_1/5_2_2
40 Follow your sensation. 1/5_2_2
41 Where do you sense the air flowing in your body? 2_4/2_1_1/2/3_1/1/4_3_5
42 Allow yourself the sensation of where the air is flowing into your body. 2_4/2_1_1/2/3_1/1/4_3_5/2
43 From what direction is the air entering into your body? 2_4/2_1_1/3_3/2
44 The air follows a clear direction into your body. 2_4/2_1_1/3_3/2/4_3_4
45 When do these sensations disappear? 1/4_2
46 Feel when your sensations disappear. 1/1_3/4_2
47 When do these sensations fade-in, and when do they fade-out? 1/4_2
48 Sensations, fading-in and fading-out. 1
49 When does the experience of your breathing fade back into your sensations? 2_4/3_3_2/1/2_1_1/5_2_1
50 Your breathing becomes part of your sensations. 2_4/2_1_1/3_3_2/1
51 How does it feel, when you caress the inside of your body with oxygen? 2_4/2_1_1/3_3/2/1_3/5_3_1
52 Caress the inside of your body with oxygen. 2_4/2_1_1/3_3/2/5_2_2
53 What is the architecture of the inside of your body? 3_3/2/3_1/2
54 Feel the inside of your body. 3_3/2/1_3/5_3_1
55 How do you shape your nose? 2_1_1/2_4/3_1/2_6
56 You shape your nose through your breathing. 2_1_1/2_4/3_1/2_6
57 Can you caress your chest with oxygen? 2_1_2/2_4/2_1_1
58 Caress your chest with oxygen. 2_1_2/2_4/2_1_1/5_2_2
59 Which form do you give to the inside of your nose? 1_4/2_1_1/3_3/3_1/2_4/2_6
60 Give a form to the inside of your nose. 1_4/2_1_1/3_3/3_1/2_4/2_6
61 Where is the back of your mouth? 1_5/2_1_1/2_6/3_3_2/3_1/2_4
62 Focus on the back of your mouth. 1_5/2_1_1/2_6/3_3_2/2_4/5_3_2
63 Are you connected to your lungs? 2_1_1/2_1_2/2_4/5_2_2
64 Make a connection to your lungs. 2_1_1/2_1_2/2_4/5_2_2
65 How far can you go with this sensation? 1/4_1
66 See how far you can go with this sensation. 1_1/1/4_1
67 What is the tempo of your breathing? 2_4/4_2_2/2_1_1
68 Take your time to breathe. 2_4/2_1_1/4_2
69 How lucid are the transitions between sensing and imagining? 3_3/1/5_2_4
70 Make transitions between sensing and imagining. 3_3/1
71 Can you imagine filling up your body? 3_3_5/2/6_1
72 Imagine filling up your body. 3_3_5/1/6_1
73 How full are your lungs before you breathe out again? 2_1_1/2_1_2/2_4/4_3_7/4_2_2
74 Fill up your lungs with air and breathe it out again. 2_1_1/2_1_2/2_4/4_2_2
75 What is the image that breathing gives you? 2_4/2_1_1/6_1
76 Your sensations of breathing give you an image of your inside body. 3_3/2/1/2_4/2_1_1/6_1
77 How do you imagine the inside of your body? 3_3/2/6_1
78 Imagine the inside of your body. 3_3/2/6_1
79 Are you connecting to your lungs and your heart? 2_1_1/2_1_2/2_4/2_3/5_2_2
80 Connect to your lungs and your heart. 2_1_1/2_1_2/2_4/2_3/5_2_2
81 Can you get the same focus as before? 4_2_2/5_3_2
82 Find the same focus as before. 4_2_2/5_3_2
83 How does the air taste? 1_5/2_4/2_1_1
84 You taste the air. 1_5/2_4/2_1_1
85 Are you ready to go for the second step now? 4_2_2/4_2_4
86 You are going for the second step now. 4_2_2/4_2_4
87 When is you body filled up with air? 2_4_1/3_3_5/2/4_2
88 Fill up your body with air. 2_4_1/3_3_5/2
89 How is the architecture of your inside body? 3_3/3_1/2
90 Imagine the architecture of your inside. 3_3/3_1/6_1
91 Can you breathe out through your eye sockets? 1_1/2_4_2/2_2_1/3_3
92 Breathe out through your eye sockets. 1_1/2_4_2/2_2_1/3_3
93 How high is the level of your imagination? 3_3_5/6
94 Tune your level of imagination. 6
95 How is the architecture of the inside of your skull? 2_2_1/3_3/3_1
96 Imagine the architecture of the inside of your skull, of all your curves and openings. 2_2_1/3_3/3_1
97 Where are the curves and where are the openings in your skull? 2_2_1/3_1
98 Imagine the architecture of your curves and the openings in your skull. 2_2_1/3_1/6
99 Are your eyes breathing out? 1_1/2_4/2_1_1
100 Breathe out through your eyes. 1_1/3_3/2_4/2_1_1
101 How constant is the coming and going of your imagination? 6
102 Your imagination constantly comes and goes. 6
103 How constant is the coming and going of your sensations? 1/4_2
104 Your sensations constantly come and go. 1/4_2
105 Can you pass by through your breathing? 2_4/3_3/2_1_1
106 Pass by through your breathing out. 2_4/2_1_1/3_3
107 How does your breathing pass from the inside to the outside of your eyes? 1_1/2_4/3_3/2_1_1
108 Pass with your breathing from the inside to the outside of your eyes. 1_1/2_4/2_1_1/3_3
109 Can you reverse your breathing pattern? 2_4/2_1_1
110 Reverse your breathing pattern. 2_4/2_1_1/5_2_4
111 Where does your throat become sensible again? 2_1_1/2_4/2_6/3_1/4_2/4_2_2
112 Connect to your throat. 2_1_1/2_4/2_6/5_2_2
113 Where in your throat does the air become sensible? 2_1_1/2_4/2_6/3_1
114 The air is becoming sensible again. 2_4/2_1_1/4_2
115 Are you breathing out again? 2_4/4_2_2/2_1_1
116 You breathe out again. 2_4_2/4_2
117 How much volume is there in the air around you? 3_3/4_1_1/4_1
118 You create more volume in the air. 3_3/4_1_1
119 How full is your skull before you breathe out? 2_2_1/2_4_2/3_3_5/4_3_7/4_2_2
120 Fill up your skull before you breathe out. 2_2_1/2_4_2/3_3_5/4_2_2
121 Do you feel the oxygen caressing your skull? 2_2_1/2_4/1_3/2_1_1/5_3_1/5_2_2
122 Caress the front of your skull with oxygen. 2_2_1/2_4/2_1_1
123 How heavy is the air that is flowing you are breathing? 2_4/4_3_6/4_3_5/2_1_1
124 Experience the weight of the air flowing in your breathing. 2_4/4_1_2/4_3_5
125 Is your skull completely filled with air before you breathe out? 2_2_1/2_4/2_1_1/4_2_2
126 Fill your skull completely with air before breathing out. 2_2_1/2_4/2_1_1/4_2_2
127 How do you caress the inside of your skull? 2_2_1/3_3/5_2_2
128 Caress the inside of your skull. 2_2_1/3_3/5_2_2
129 How do you connect the sensations between your nose and your mouth? 1_4/1_5/2_1_1/3_3/1/2_4/2_6/5_2_2
130 Connect to your sensations, sense your nose and your mouth. 1_4/1_5/2_1_1/1/2_4/2_6/5_2_2
131 Are you still in contact with your sensations? 1/4_2
132 Lose contact with your sensations. 1/5_2_4
133 How clear is the input you receive from sensations and experiences? 1/4_3_4
134 You have a clear input of sensations and experiences. 1/4_3_4
135 How do you feel in your eyes? 1_1/1_3/2_1_1
136 Feel your eyes. 1_1/1_3/2_1_1/5_3_1
137 When do you feel the air in the back of your throat? 2_1_1/2_4/2_6/3_3_2/1_3/4_2
138 Feel the air in the back of your throat. 2_1_1/2_4/2_6/3_3_2/1_3/5_3_1
139 Can you breathe out through your ears, both sides at the same time? 1_2/2_2_1/2_4_2/3_3/4_2/2_1_1
140 Breathe out and listen through your ears, both sides at the same time. 1_2/2_2_1/2_4_2/3_3/4_2/2_1_1
141 Are the pressure in your chest and the pressure in your skull similar? 2_1_2/2_2_1/4_1_1
142 Create pressure in your chest and fill up your skull. 2_1_2/2_2_1/3_3_5/4_1_1
143 How are your ears connected to your lungs? 1_2/2_1_1/2_1_2/2_4
144 Connect both sides of your ears to your lungs. 1_2/2_1_1/2_1_2/2_4/5_2_2
145 How are your ears connected to the pressure in your chest? 1_2/2_1_1/2_1_2/4_1_1
146 Connect both sides of your ears to the pressure in your chest. 1_2/2_1_1/2_1_2/4_1_1/5_2_2
147 Where exactly, is the imagination? 3_1/6
148 Make a clear distinction between your imagination and your sensations. 3_3/6
149 How do you visualize and imagine the construction of your skull? 2_2_1/6_1
150 Visualize and imagine hunches of the construction of your skull. 2_2_1/6_1/7_1
151 When does the sound arrive into your ears? 1_2/2_1_1
152 Arrive to your ears through the sounds. 1_2/3_3/2_1_1
153 Do you arrive at the beginning? 4_2_2
154 Arrive at your beginning. 4_2_2
155 Did you arrive at an opening? 4_3_5
156 Arrive at an opening. 4_3_5
157 Do you want to be introduced to the last step? 4_2_2/5_2_2
158 Introduce the last step. 4_2_2/5_2_2
159 Is the next step the breathing into your ears? 1_2/2_1_1/2_4/4_2_2
160 Make the next step. 4_2_2
161 Can you breathe in through your ears? 1_2/2_1_1/2_4/3_3
162 Breathe in through your ears. 1_2/2_1_1/2_4/3_3
163 Can you breathe out through your tail? 2_4_2/3_3/2_2_3
164 Breathe out through your tail. 2_4/2_1_1/3_3/2_2_3
165 What is your own tempo? 4_2_2
166 In your own tempo, you can shift breathing into your left and into your right ear. 1_2/2_1_1/2_4/4_2_2/5_2_4
167 When are you breathing out? 2_4_2/2_4/2_1_1
168 Breathing out. 2_4_2/2_1_1
169 Can you fill up your complete skull with air? 2_2_1/2_4/2_1_1/3_3_5
170 You fill up your skull completely with air. 2_2_1/2_4/2_1_1/3_3_5
171 Does the air travel through the middle of your spine, through all of its curves? 2_2_3/2_4/2_1_1/3_3
172 Send your focus down through the middle of your spine, through all of your curves. 2_2_3/3_3/3_3_6/4_2_2/5_3_2
173 Can you do it again? 4_2_2
174 You can stabilize again. 4_1_4/4_2_2
175 Where is your imagination coming from? 3_1/6
176 Tune your imagination. 6
177 Feel the different tensions the gravity creates in your muscles? 2_1/4_3_7/4_1_1/1_3/5_3_1
178 There are different tensions in your muscles due to gravity. 2_1/4_1_1/4_3_7/4_1
179 Are you balancing yourself? 4_1_4
180 Balance yourself. 4_1_4
181 When do you loose grip? 4_3_5/5_2_4/4_2
182 When you loose grip, you can connect back to your nose and your mouth. 4_3_5/3_3_2/2_1_1/1_4/2_6/2_4/4_2
183 Can you take a step back, and reconnect to your own tempo? 3_3_2/4_2_2/5_2_2
184 Take a step back and reconnect in your own tempo. 3_3_2/4_2_2/5_2_2
185 Can you integrate the extra information into your spine? 2_2_3/3_1/5_3_4
186 Integrate the extra information into your spine. 2_2_3/3_1/5_3_4
187 Can you let it pass? 8
188 Just let it pass. 8
189 Where is the exterior of your body? 2/3_1/3_3
190 Reach the exterior of your body. 2/3_3
191 Can you imagine if there is still a bit of air that can exit your body? 2_4_2/2/4_1/4_2/6_1
192 Imagine, there is still a bit of air that can exit. 2_4_2/4_1/4_2/6_1
193 How much sounds and pressure fill up your ears and your skull? 1_2/2_1_1/2_2_1/3_3_5
194 Sensing with your ears, filling up your skull with sounds. 1_2/2_1_1/2_2_1/3_3_5
195 Where are you making tensions? 3_1/4_3_7
196 Create tensions in your chest. 4_3_7/2_1_2/7_1
197 Is this too much? 8
198 If this is too much, just let it be. 8
199 Are you connected to your tail? 2_2_3/5_2_2
200 You connect to your tail. 2_2_3/5_2_2
201 Can you revisit your nose and your mouth? 1_4/1_5/2_1_1/2_6/2_4
202 You revisit only your nose and your mouth. 1_4/1_5/2_1_1/2_6/2_4
203 How do you visualize the air separating and leaving your spine? 2_4/2_1_1/2_2_3/6_1
204 Visualize the air separating and leaving your spine. 2_4/2_1_1/2_2_3/6_1
205 How much air is your body taking from your throat? 2_4/2_1_1/2_2_3
206 Your body is taking a little more air from your throat. 2_4/2_1_1/2_6
207 Where did you put the pressure? 3_1/4_1_1
208 Put pressure in your chest. 4_1_1/2_1_2
209 How does your spine move along your exhalations? 2_2_3/2_4_2/3_2
210 Connect the movement of your spine to your exhalation. 2_2_3/2_4_2/3_2/5_2_2
211 How does the inside of your skull feel? 2_2_1/3_3/1_3
212 Fill up your skull with air. 2_2_1/3_3_5
213 Where is the opening in the back of your skull? 2_2_1/3_3_2/3_1/4_3_5
214 Situate the opening in the back of your skull. 2_2_1/3_3_2/4_3_5
215 Is there a space left in between your spinal discs? 2_2_3/3_3/4_1
216 Breathe between your spinal discs. 2_2_3/3_3
217 Do you want to change your position? 3_1/5_2_4
218 Change your position. 3_1/5_2_4
219 What form do you give to your breathing, is it a line, a circle, a boll? 2_4/3_1/2_1_1
220 In your own tempo, you give a form to your breathing. 2_4/2_1_1/3_1/4_2_2
221 Do you have a clue how to move? 3_2
222 You can find clues on how to move. 3_2
223 Is your breathing pattern circular? 2_4/2_1_1
224 In your own time, you make a circular breathing pattern. 2_4/2_1_1/4_2
225 Did you change direction? 3_3/5_2_4
226 You change direction. 3_3/5_2_4
227 Have you finished? 4_2_2
228 You finish. 4_2_2
229 Is your attention on what you are doing? 5_3_2
230 Allow yourself to guide your attention away from what you are doing. 3_3/5_3_2
231 Have you created a trajectory for yourself? 3_3
232 Allow yourself to create a trajectory for yourself. 3_3
233 Where is the air you breathe guiding you to? 2_4/2_1_1/3_1/5_2_2
234 Be free and follow the air you are breathing. 2_4/2_1_1/4_3_5/5_2_2
235 Where is your attention guiding you? 3_1/5_3_2
236 Follow your attention. 5_2_2/5_3_2
237 Are you directing your imagination, or are you being directed by it? 6
238 You are in between directing your imagination and letting your imagination direct you. 3_3/6
239 Are you guiding or are you being guided by your sensations? 1/5_2_2
240 You switch between guiding and being guided by your sensations. 1/5_2_2
241 Are you guided by your sensations or being guided by your imagination? 1/6/5_2_2
242 Alter being guided by your sensations and being guided by your imagination. 1/6/5_2_2
243 Can you breathe in from two points at once? 2_4_1
244 You can breathe in from two points at once. 2_4_1
245 Do you want to breathe out in your own time? 4_2/2_4_2
246 In your own time, you breathe out. 4_2/2_4_2
247 Can you breathe out through one point? 2_4_2/3_3
248 Breathe out through one point. 2_4_2
249 From where in space are you breathing the air? 2_4/4_1/3_1/2_1_1
250 Select from where in space your are breathing in. 2_4/2_1_1/3_1/5_3_2
251 Can you play being taken by surprise, and from there, direct yourself? 4_3_4/4_1/5_3_9
252 This is a game of being taken by surprise and then direct yourself. 4_3_4/5_3_9
253 Is there anything else you are doing besides breathing? 2_4/3_3/2_1_1/4_1
254 The only thing you do is to pass through your breathing. 2_4/2_1_1/3_3
255 How are you being composed and how can you compose yourself? 7_2
256 Compose yourself. 7_2
257 How much are you challenging your body and how much is your body challenging you? 2/5_2_3
258 Challenge your body as much as your body is challenging you. 2/5_2_3
259 How can you tune into the qualities of your sensations? 1/4_3/5_2_2
260 The last big step is to tune-in to the qualities of your sensations. 1/4_3/4_2_2/5_2_2
261 Where is the air flowing in and out of your body? 2_4/2_1_1/2/3_1/4_3_5
262 Sense the air flowing in and out of your body. 2_4/2_1_1/2/4_3_5
263 When do your sensations become imagination? 1/6/4_2
264 Your sensations have a vague place where they can become imagination. 1/3_1/4_3_3/6
265 When does your imagination become sensations? 1/6/4_2
266 Your imaginations has a vague place where it can become sensations. 1/3_1/4_3_3/6
267 What precisely are you finding out for yourself? 4_3_4
268 Be precise in what you find out for yourself. 4_3_4
269 Of what sensations are you more aware? 1/5_3_2
270 You are more aware of sensations now. 1/4_2_4/5_3_2
271 How does the air taste in your mouth? 1_5/2_6/2_4/2_1_1
272 The quality of the air in your mouth has a clear taste. 1_5/2_6/2_4/2_1_1/4_3
273 What is happening in between your senses? 3_3/1
274 Your sensations connect to your senses. 3_3/1/5_2_2
275 Where do you imagine your sensations in relation to your senses? 1/3_1/6_1
276 Your sensations are in between your senses. 3_3/1
277 How are your changing postures manipulating your breathing? 2_4/3_1/2_1_1/5_2_4
278 Changing your posture will manipulate your breathing. 2_4/2_1_1/3_1/5_2_4
279 How are your postures manipulating the information in your spine? 2_2_3/3_1/5_2_4
280 Your changing postures are manipulating the information in your spine. 2_2_3/3_1/5_2_4
281 What is happening with your breathing? 2_4/2_1_1
282 Sense what happens with your breathing. 2_4/2_1_1
283 How much time do you want to take for this? 4_2
284 Take a little bit more time for this. 4_2
285 Where are the sounds that draw your attention come from? 1_2/3_1/5_3_2
286 Focus on the difference, between the sounds from your inside and your outside. 1_2/3_3/5_3_2
287 What is happening with your eyes? 1_1/2_1_1
288 Focus on your eyes. 1_1/2_1_1/5_3_2
289 How much time do you want to arrive in this space? 4_2/4_1
290 Take your time to arrive in this space. 4_2/4_1
291 How is the gravity working onto your whole body? 2/4_1_1
292 Feel how the gravity is working onto your body. 1_3/2/4_1_1/5_3_1
293 What is the effect of the gravity on your muscles? 2_1/4_1_1
294 The mass of your muscles is drawn to the center of the earth. 2_1/4_1_1/3_1
295 How does your skeleton structure feel? 2_2/1_3
296 Your skeleton structure feels lighter. 2_2/1_3/4_3_1
297 Are there tensions in your body? 2_1/2/4_1/4_3_7
298 Scan your body for tensions. 2_1/4_3_7
299 How is your respiration? 2_4/2_1_1
300 Redirect your focus to your respiration. 2_4/2_1_1/4_3_4/5_3_2
301 What is the tempo and the rhythm of your breathing? 2_4/2_1_1/4_2_2
302 The rhythm of your breathing. 2_4/2_1_1/4_2_2
303 How much does the amount of air change in and around your body? 3_3/2
304 Experience how the amount of air inside and around your body is changing. 3_3/5_2_4
305 What is the structure of your skull? 2_2_1
306 Visualize the structure of your skull. 2_2_1/6_1
307 What is the form of your face? 2_1_1/3_1
308 Your skull protects your brain and create the form of your face. 2_1_1/3_1/7_1
309 Is there a different pressure from the inside and the outside of your skull? 2_2_1/3_3/4_1_1
310 There is a different pressure on the inside and the outside of your skull. 2_2_1/3_3/4_1_1
311 How strong can you sense the pressure in your bone structure? 2_2/4_3_2/4_1_1
312 The pressure inside your bone is strong. 2_2/3_3/4_3_2/4_1_1
313 Is your focus on the matter of your skull? 2_2_1/5_3_2
314 Don't focus on the positive matter of your skull. 2_2_1/5_3_2
315 Are you sensing the negative space more in or around the matter that is your body? 3_3/1/4_1/2
316 Give your attention to the negative space in and around your body. 3_3/4_1/2/5_3_2
317 How much air is flowing through the openings of your skull? 2_4/2_1_1/2_2_1/3_3/4_3_5
318 Visualize the air flowing through the openings in your skull. 2_4/2_1_1/2_2_1/3_3/4_3_5/6_1
319 Can you follow the air flowing through the inside of your skull? 2_2_3/2_4_2/3_3/4_3_5
320 Visualize the air flowing through the inside of your skull. 2_2_3/2_4_2/3_3/4_3_5/6_1
321 Which openings of your skull are connected? 2_2_1/4_3_5
322 Feel the air flowing through your skull, connecting different openings. 2_2_1/1_3/4_3_5/5_3_1/5_2_2
323 How your bone structure at the inside of your skull? 2_2/2_2_1/3_3
324 Visualize the inside of your skull, the architecture of your bone structure. 2_2/2_2_1/3_3/3_1/6_1
325 Is there a particular connection between your nose and your eyes? 1_1/2_1_1/3_3/4_1/2_4/2_6
326 Take your time to create connections between your nose and your eyes. 1_1/2_1_1/2_4/2_6/4_2
327 For how long do you want to explore this? 5_3_4
328 Explore this in your own time. 4_2/5_3_4
329 How would your physique look, if you would reconstruct it from the inside to out? 3_3
330 Take your time to construct your architecture from the inside to outside. 3_3/3_1/4_2
331 How does the air materialize inside your body? 3_3/2
332 In your own rhythm, slowly materialize the air inside your body. 3_3/4_2_2/4_3_7/2
333 Can you feel the vibrations of the air? 2_4/2_1_1/1_3/4_2_3
334 Feel the vibrations of the air. 2_4/2_1_1/1_3/4_2_3
335 Does your brain control and coordinate your senses? 2_1/5_3_8
336 Your brain controls and coordinates your senses. 2_1/5_3_8
337 How much energy is passing through your brain right now? 2_1/4_3
338 Feel energy passing through your brain. 2_1/1_3/4_3/5_3_1
339 Is your blood flow keeping up with the activity of your brain? 2_3/2_1/3_3_5/4_3_5
340 Your blood flow is in direct relation with the activity in your brain. 2_3/2_1/3_3_5/4_3_5
341 Are you a membrane? 2_5
342 You are a membrane floating. 2_5
343 Are you a fluid? 2_3
344 You are a fluid. 2_3
345 Is your brain floating? 2_1
346 Your brain is floating. 2_1
347 How small is your brain? 2_1/4_3_1
348 Your small brain is like a peach. 2_1/4_3_1
349 How can you take care of your brain right now? 2_1/4_2_4
350 Protect your brain, take care, moisturize it. 2_1
351 Where are your nerves taking you? 2_1/3_1
352 Drift into your nerves. 2_1
353 What is your pressure? 4_1_1
354 Control the pressure in your cavities. 4_1_1/5_3_8
355 How deep can you go into your spinal chord? 2_1/5_3_2
356 Go deeper into the structure of your spinal cord. 2_1
357 How many signals are caught by your senses right now? 1/4_2_4
358 Regulate the amount of signals from your senses. 1/4_2_4
359 How do your muscles react to the signals caught by your senses? 2_1/1/5_1
360 Send out your sensory signals to your muscles, make them reflex. 2_1/4_2_2
361 What do you sense in the middle of your spinal chord? 2_1/3_3
362 In the middle of your spinal cord is your central canal. 2_1/3_3
363 Can you imagine your spinal chord as a fluid? 2_1/6_1
364 In the center of your body, you have a canal that is filled with fluids. 2_1/3_1
365 How do you protect your spinal chord? 2_1
366 Protect your spinal cord. 2_1
367 Do you sense any pressure onto your spinal chord? 2_1/4_1_1
368 Control the pressure onto your spinal cord. 2_1/4_1_1
369 In what color do you imagine the space in the middle of your spine? 2_2_3/3_3/4_1/6_1
370 Grey matter surrounds your central canal in a butterfly form. 2_2_3/3_3/3_1
371 What colors do you imagine? 6_1
372 The color of your butterfly-form is grey. 3_1
373 Can you divide your spinal chord in a front and a back? 2_1/3_3_1/3_3_2
374 Your butterfly-form can be divided in two stumpy front horns and two sharp back horns. 2_1/3_1/3_3_1/3_3_2
375 Where do you situate you movements? 3_2/3_1
376 In your front horns lies the motoric part of your spinal cord. 3_3_1
377 How do you carry the information of your movement? 3_1/3_2
378 You are an information carrier of movement. 3_2/3_1
379 Where is your spinal chord most sensitive? 2_1/3_1/1
380 In your back horns lies the sensible part of your spinal cord. 2_1/3_3_2
381 Where is the information of your position, your temperature, vibration, and pain? 2/3_1/4_2_3
382 You carry information for position, temperature, vibration, and pain. 2/3_1/4_2_3
383 Can you continue in a similar fashion? 4_2
384 Continue in a similar fashion. 4_2
385 How do you take care of your pain and your temperature? 1_3/ 5_2_2
386 Take care of your pain and temperature. 1_3
387 When do you sense your body in more than three-dimensional space? 1/2/4_1/4_2
388 Take care of your perception of the body in three-dimensional space. 1/2/4_1
389 How lucid is your perception of your organs? 2_1_4/1
390 Take care of your lucid perception of your organs. 2_1_4/1
391 When are you more conscious of your refined movement? 3_2/4_2
392 Take care of your conscious and refined muscular movement. 2_1/3_2
393 How much tension can you preserve in your muscles? 2_1/4_3_7
394 You unconsciously take care for the preservation of your tension. 2_1/4_3_7
395 Which interactions of muscles are more coherent than others? 2_1
396 You take care of your flexible and coherent interactions of your muscle groups. 2_1/3_3_5
397 How fluent and coordinated are you movements right now? 3_2/4_2_4/5_3_8
398 Your small brain takes care of the fluency and coordination of your movements. 3_2/4_2_4/2_1/5_3_8
399 Can you wrap yourself around your spinal chord? 2_1/3_3
400 Wrapped around your central canal is your butterfly-formed grey matter. 2_1/3_3/3_1
401 Are you unstable or metastable? 4_1_4
402 You are unstable and metastable at the same time. 4_1_4/4_2
403 Do you feel need to define the work you are doing? 1_3/5_3_1/5_3_7
404 The work does not want to be defined. 5_3_7
405 What happens when you scroll through it, fragmented, or casual? 3_3
406 Scroll through it, fragmented and casual. 3_3
407 Do you need to define what is going on? 5_3_7
408 You don't need to define what is going on. 5_3_7
409 Is the thing in the body or on the screen, or maybe in between it? 3_3/2
410 Your focus can be on the screen and on the body, in the body and in between. 3_3/2/5_3_2
411 Can you find a place to nest in the in between of things? 3_3/4_1
412 Nesting in the in-between 3_3
413 Where are you in relation to the technology? 3_1
414 Move around the technology. 3_2
415 How loud is your attention? 5_3_2
416 Amplify your attention. 5_3_2
417 Are you in the foreground or in the background of your performance? 3_1/7_3
418 Bring yourself to the foreground of your performance. 3_1/7_3
419 How can you change your obstacles from frustration to something fantastical? 6_1/5_2_4
420 Your obstacles are causing fantastic frustrations. 6_1
421 How real are the materials surrounding you? 4_1
422 Experience the realness and the vitality of the materials surrounding you. 4_1
423 How does the big space open up to you? 3_3_5/4_1/4_3_5
424 Naturally, the big space opens up to you. 3_3_5/4_1/4_3_5
425 How do you feel in this playground? 1_3/5_3_1/5_3_9
426 This space is a perfect playground. 4_1/5_3_9
427 Can you breathe words into the public space? 2_4/2_1_1/4_1
428 Breathe your words. 2_4/2_1_1
429 How clear do you connect to the space? 4_3_4/4_1/5_2_2
430 Find a clear way to connect to the space. 4_3_4/4_1/5_2_2
431 What can you do with this space? 4_1
432 Open up the space, break it, mold it, reshape it. 3_1/3_3_5/4_1/4_3_5
433 How does the space play around with you? 3_3/4_1/5_3_9
434 Play around with this space. 3_3/4_1/5_3_9
435 Do you feel together with someone else in this space? 1_3/4_1/5_3_1
436 Initiate togetherness. 8
437 How rich are your experiments? 5_3_9
438 Experiment each time with a richness. 4_2/5_3_9
439 Where is your gaze directed to? 1_1/3_1
440 Turn your gaze to a beautiful screen 1_1/5_1_3
441 Can you become a statue on a boat? 8
442 Feel as though you become a statue on a boat. 1_3/5_3_1
443 Are you in a space of travel, of transition? 4_1/5_2_4
444 Be in a place of travel and transition, in a place of searching. 4_1/5_2_4/5_3_7
445 What does this moment reflect? 4_2_1/5_3
446 A reflective moment. 4_2_1
447 How real is this space? 4_1
448 Play with the reality of this space. 4_1/5_3_9
449 Is this a mystical space, and are you the oracle? 4_1
450 Find yourself in a mystical space, like an oracle. 4_1
451 Can you find your question? 5_3_7/5_2_2
452 Find your question. 5_3_7/5_2_2
453 What score is the space giving you? 4_1/7_2
454 The space gives you its score. 4_1/7_2
455 How can you help yourself to listen, to be active, to be open? 1_2/4_3_5
456 Create a space that helps you to listen, to be active, to be open. 1_2/4_3_5
457 Where do you find yourself? 3_1/5_2_2
458 Find out where you are. 3_1/5_2_2
459 How dirty is your shell, your skin? 1_3/2_5
460 Dirt has to be part of your skin, it protects your shell. 1_3/2_5
461 Which parts of your body want to find out more about the others? 2/5_2_2/5_1_1
462 Use your body in order to find out who the others are. 2/5_1_1
463 How does it feel to be in time? 1_3/4_2/5_3_1
464 You are back in time. 3_3_2/4_2
465 What is engraved in your skin? 1_3/2_5
466 Read the natural engravings in your skin. 2_5
467 How does your immediate future look like? 4_2_1/4_2_4
468 You are in your immediate future. 4_2_1/4_2_4
469 How sensitivity and intense does this room feel to you? 1_3/4_3_7/4_1/5_3_1
470 This is a room of intensity, a room of sensitivity, a room of infinity. 4_1
471 How soft are your eyes? 1_1/2_1_1/4_3_1
472 Allow your eyes to soften. 1_1/2_1_1/4_3_1
473 How deep can you let your eyes drop? 1_1/2_1_1
474 Let your eyes fall into their sockets. 1_1/2_1_1
475 Are you settled in this land? 8
476 Allow yourself to settle and to land. 8
477 How useful are you? 8
478 You are in use of the space. 4_1
479 Where are the meeting points between your body and the floor? 1_3/3_3/2/3_1
480 Feel the meeting points between your body and the floor. 1_3/3_3/2/5_3_1
481 How does your body fit to the amount of your breath? 2_4/2_1_1/2
482 Feel how your breath fills up your body, like a foot perfectly fitting in a shoe. 2_4/2_1_1/2/3_3_5/1_3/5_3_1
483 Do you want to manipulate the leather of your skin? 1_3/2_5/5_2_4
484 Manipulate the leather of your skin. 1_3/2_5/5_2_4
485 How much pleasure is there in your breathing? 2_4/2_1_1/4_1
486 Find more pleasure in your breathing. 2_4/2_1_1
487 Are you adjusting to the shapeshifting of your reality? 3_1/5_2_3
488 Adjust yourself anytime to the shapeshifting of your reality. 3_1/4_2/5_2_3
489 Do you fit into this ecology? 8
490 You fit into this ecology. 8
491 How do the sounds and the vibrations accumulate in the symphony of now? 1_2/4_2_3/4_2_4
492 Sounds and vibrations accumulate in the symphony of now. 1_2/4_2_3/4_2_4
493 Are you in the center of the sound symphony? 1_2/3_1
494 Put yourself in the center of a sound symphony. 1_2/3_1
495 Can you touch the vibrations of the sound? 1_2/1_3/4_2_3
496 Vibrations of the sound come up through touching. 1_2/1_3/3_3/3_3_5/4_2_3
497 How do you feel from the inside out as you hear from the outside-in? 1_2/2/3_3/1_3
498 Feel from the inside out as you hear from the outside in. 1_2/2/3_3/1_3/5_3_1
499 Where is the bridge of your breath leading you? 2_4/2_1_1/3_1
500 Your breath is a bridge. 2_4/2_1_1
501 How much pleasure is there in your breathing, in your weight? 2_4/2_1_1/4_1
502 Find a little more pleasure in your breathing, in your weight. 2_4/2_1_1/4_1_2/5_2_2
503 How freely are your organs hanging? 2/4_3_5
504 Let your organs hang freely. 2/4_3_5
505 Have you arrived in your awareness? 8
506 Arrive in your awareness. 8
507 How easy is the pleasure of your breathing, of your skin, the sounds? 1_2/1_3/2_4/2_5/2_1_1
508 The easy pleasure of your breathing, of your skin, the sounds. 1_2/1_3/2_4/2_1_1/2_5
509 Is the intelligence of your flesh awake? 1_3
510 Awaken your fleshy intelligence. 1_3
511 Where starts your innerness? 2/3_1/3_3
512 All your innerness, like a kiss from the outside. 2/3_3
513 How intimate is your exhalation? 2_4_2
514 Your exhale carries the intimacy of your innerness. 2_4_2/3_3
515 Do you breathe life, or does life breathe you, to you, through you? 2_4/2_1_1/3_3
516 Life breaths you, through you, to me, through me. 2_4/2_1_1/3_3
517 What lies beyond the binary of your inhalation and exhalation? 2_4/2_1_1
518 Beyond the binary of the inhalation and exhalation lies the ephemeral experience. 2_4/2_1_1
519 What can you experience at the top of your inhalation? 2_4_1
520 Experience the ephemeral experience at the top of your breathing. 3_3_5/2_4_1/2_1_1
521 When is the highest moment at the top of your breathing? 2_4_1/3_3_5/2_4/2_1_1/3_1/3_2
522 The top of your breathing is a precarious moment. 2_4_1/2_1_1/3_2
523 How does your fullness slide down your exhalation? 2_4/2_1_1/3_3_6/4_3_7
524 Fulness is a temporary impregnation that easily slides down through your exhalation. 2_4/2_1_1/3_3_6/3_3/4_2_2/4_3_7
525 Are you totally letting go? 5_2_4
526 Enact a total letting go. 5_2_4
527 How does the space at the bottom of your exhalation feel? 2_4_2/1_3/4_1/5_3_1
528 At the bottom of your exhalation is another liminal space. 2_4_2/4_1
529 How long can you touch the emptiness after exhaling? 1_3/2_4_2
530 Sense a vibrant darkness when you are touching the emptiness after exhaling. 1/1_3/2_4_2
531 Where is your most subtle dance? 3_1/7
532 Dance subtly on the moment when the tides are retrieved, just before a wave comes back. 4_2_2/4_2_1/3_3_2/7
533 How far can you ride the moment before your body is ready for your next breath? 2_4/2_1_1/2/4_2_2/4_1/4_2_1
534 Ride that moment when your body is ready for the next breath. 2_4/2_1_1/2/4_2_2/4_2_1
535 How empty is your emptiness? 8
536 Empty your emptiness. 8
537 What is the sound of your breathing? 1_2/2_4/2_1_1
538 Your breathing sounds like a porous bridge in between your shapes. 1_2/2_4/2_1_1/3_1/3_3
539 Which are the shifting shapes of your breathing body? 2_4/3_1/2/2_1_1/5_2_4
540 Give your breathing body a shape, a shifting shape. 2_4/2_1_1/3_1/2/5_2_4
541 Can you amplify the space in the front of your torso? 2_2_2/3_3_1/4_1/5_2_2
542 As you inhale, you can amplify the space in the front of your torso. 2_2_2/3_3_1/2_4_1/5_2_2
543 Can you amplify the space in the back of your torso? 2_2_2/3_3_2/4_1/5_2_2
544 As you inhale, you can amplify the space in the back of your torso. 2_2_2/3_3_2/4_1/5_2_2
545 Which movements are you allowing? 3_2
546 Allow any movement. 3_2
547 How can you better fill up your flesh? 3_3_5/1_3
548 Allow any position that enables you to better fill up your flesh. 3_3_5/1_3
549 How do you experience the juices in your belly? 2_1_4/2_6
550 Feel the soft juices in your belly. 2_1_4/2_6/1_3
551 Can you move into a sea of forgiveness? 3_2
552 Feel the soft juices at the back of your lungs tucked into a sea of forgiveness. 2_1_1/2_1_2/2_4/1_3/3_3_2
553 How are you organized around your simple center? 3_3/3_1/5_3_8
554 Organize around your simple center. 3_3/3_1/5_3_8
555 Where lies the simple center of your circumstances? 3_1
556 Engage from your simple center of your circumstances. 3_1/5_2
557 What perspective and which experiences does your liver hold? 2_1_4/2_6
558 The metaphor of your liver holds your perspectives and experiences. 2_1_4/2_6
559 How innocent or arrogant is your heart? 2_3/2_1_2
560 The experience of your heart holds your innocence and your arrogance. 2_3/2_1_2
561 What are the possibilities of your liver and your heart? 2_1_4/2_6/2_3/2_1_2
562 Inhale the possibilities of your liver and your heart, your right side and your left side. 2_1_4/2_6/2_3/3_3_3/3_3_4/2_1_2
563 How far are your right side and your left side expanding from each other? 3_3_4/3_3_5/4_1
564 Your right side and your left side expand away from each other. 3_3_4/3_3_5
565 Is your simple center spacious enough to hold your somatic space of paradoxes? 3_1/2/4_1
566 Imagine that your simple center holds your somatic space of paradoxes. 3_1/2/4_1/6_1
567 Are your endings implicit in your beginnings? 4_2_2
568 You have endings implicit in your beginnings. 4_2_2
569 What are your senses concealing as they reveal? 1
570 You have senses that conceal as you reveal. 1
571 Is your inhalation pulling your right side and your left side apart? 2_4_1/3_3_3/3_3_4
572 Pull your left side and your right side apart with your inhalation. 2_4_1/3_3_3/3_3_4
573 How do you rise up to the challenge of being in your body? 3_3_5/2/5_2_3
574 Rise with inspiration, into the richness, into the challenge of being in your body. 2/5_2_3
575 Can you bring everything together again? 4_2_2
576 Your exhalation brings everything together again. 4_2_2
577 Do you feel the beating of your heart at the end of your exhalation? 2_3/2_4_2/1_3/2_1_2/4_2_2/5_3_1
578 At the bottom of your exhalation, maybe you feel the beating of your heart. 2_3/2_4_2/1_3/2_1_2/5_3_1
579 Is there a difference between your innerness and your otherness? 3_3/4_1
580 Regulate your innerness and outness. 3_3/2_4_2
581 What do you remember of your front and your back, of your left and your right? 3_3_1/3_3_2/3_3_3/3_3_4/5_3_3
582 Build a memory of your front and your back, of your left and your right. 3_3_1/3_3_2/3_3_3/3_3_4/5_3_3
583 How high and how deep are your inhalations? 2_4_1
584 The length of your spine amplifies your inhalation, its height, its depth. 2_4_1/2_2_3/5_2_2
585 Does your inhalation start from your center? 2_4_1/3_1/4_2_2
586 Imagine that your inhalation starts from your center, like Mercury moving in two ways. 2_4_1/3_1/3_2
587 Do you feel your pelvis in your feeling-full feet? 2_2_4/2_1_3/1_3/4_3_7/5_3_1
588 Sense your pelvis through the root system of your legs, your feeling-full feet 2_2_4/2_1_3/1_3/4_3_7/1/5_3_1
589 What is the shape of your inhalation? 2_4_1/3_1
590 No matter what shape, your inhalation brings a down and an up-ness. 2_4_1/3_1/3_3_5/3_3_6
591 Where can you start your rebound? 3_1/4_2_2
592 Rebound all the way. 8
593 What is inside the ephemeral archive of your body? 3_3/2
594 Place this experience into the ephemeral archive of your body. 2/4_1
595 When is your body holding back? 2/3_3_2/4_2
596 Your body holds the fruits, the gifts and the deficits. 2
597 Where is your simple and soft center? 3_1/4_3_1
598 Find your simple and soft center. 3_1/4_3_1/5_2_2
599 Is your inhalation changing your atmosphere? 2_4_1/5_2_4
600 Inhale, like a spherical expansion. 2_4_1
601 Is your head still holding your eyes? 1_1/2_1_1/4_2
602 Your eyes are held in your head. 1_1/2_1_1
603 Where do you receive the sounds in your ear? 1_2/2_1_1/3_1
604 The sounds are received in your inner ear. 1_2/2_1_1/3_3
605 In what shape is your breathing shaping your body? 2_4/3_1/2/2_1_1
606 Your breath shapes the shoe that is your body. 2_4/2_1_1/3_1/2
607 Which memories are coming back into your fingers? 2_1_1/5_3_3
608 All of the searches that your fingers have typed into the world come back into your fingers. 2_1_1/5_3_7
609 Which memories of gestures are coming back into your hands and arms? 2_1_1/3_3_2/5_3_3
610 All of the extensions of your arms and your gestures, come back into your hands and arms. 2_1_1/3_3_2
611 Can you remember all of the footsteps, all of the paths taken with your feet? 2_1_3/5_3_3
612 All of the footsteps and every path you walked, comes back into your feet. 2_1_3
613 How do you imagine your breathing? 2_4/2_1_1/6_1
614 Sense your breathing with your imagination. 2_4/2_1_1/1/6
615 How present are you in your attention? 5_3_2
616 Feel the presence of your attention. 1_3/5_3_1/5_3_2
617 How deep down can you slide your attention? 3_3_6/5_3_2
618 Imagine you can slide your attention in through your left nostril, all the way down. 3_3/3_3_6/3_3_3/6_1/5_3_2
619 Can you touch your right kidney? 2_1_4/1_6/3_3_4
620 It is like you could touch your right kidney. 2_1_4/2_6/3_3_4
621 How much do you inflate when you inhale? 2_4_1
622 Inhale and inflate. 2_4_1
623 Does your breathing accommodate any movement in your small joints? 2_4/2_2/3_2/2_1_1/4_3_1
624 Accommodate with your breathing any movement through your small joints. 2_2/2_4/2_1_1/3_2/4_3_1
625 How subtle are your organs moving? 2_1_4/1_6/3_2
626 Subtle organ movement is becoming invisible as you inhale through your left nostril. 2_1_4/1_6/3_2/3_3/3_3_3
627 How much breath is travelling through your right nostril as you inhale? 1_4/2_4_1/2_1/3_3_4/3_3
628 Imagine as you inhale all the breathe travelling out only through your right nostril. 1_4/2_4_1/2_1/3_3_4/3_3
629 Where is the breath flowing that you inhale through your left nostril? 1_4/2_4_1/2_1/3_3_3/3_3/3_1
630 Inhale through your left nostril, filling up the bottom of your right lung. 1_4/2_4_1/2_1/3_3_3/3_3/3_3_5
631 Can you release everything on your right side? 3_3_4/5_2_4
632 Exhale and release everything on your right side. 2_4_2/3_3_4/5_2_4
633 How full and deep is your inhalation? 2_4_1/4_3_7
634 The breath of your inhalation is full, deep, and saturating. 2_4_1/4_3_7
635 When do you sense the moment of emptiness again? 4_2_2/1/4_2
636 Your exhalation brings the moment of emptiness again. 2_4_2/4_2_2
637 Can you play with your polarities? 5_3_9
638 You can play with these polarities yourself. 5_3_9
639 When are you ready? 4_2
640 When you are ready, switch your attention so that your mind mingles with your sensations. 1
641 How does your mind mingle in your sensations? 1
642 Your mind mingles with your sensations of your right nostril. 1/3_3_4
643 Where are the roots of your breathing? 2_4/2_1_1/3_1/2_1_1
644 Root in the sensations of your breathing. 2_4/2_1_1
645 How does your breathing caress your nose hairs? 1_4/2_4/2_1_1/2_6/5_2_2
646 Touch all of your little nose hairs by pulling all that delicious breath down. 1_4/3_3_6/2_4/2_6/2_1_1
647 Is there a difference between sensing the top and the bottom of your lungs? 2_1_2/2_4/2_1_1/4_1
648 The bottom of your left lung saturates in your attention. 2_1_2/2_4/2_1_1/3_3_3/5_3_2
649 Which nostril is participating more in your breathing? 1_4/2_1_1/2_4
650 Perhaps invite your left nostril to participate. 1_4/2_1_1/2_4/3_3_3
651 Is your breathing spread equally between your left and your right nostril? 1_4/2_1_1/2_4/3_3/3_3_3/3_3_4
652 Pull the breath equally in through your left and right nostril. 1_4/2_1_1/2_4/3_3_3/3_3_4/3_3
653 Where is the deepest destination of your breath? 2_4/2_1_1/3_1
654 Spiral your breathing to their destination, deep in the lower lobes of your lungs. 2_1_1/2_1_2/2_4
655 How does your exhale connect to your inhale? 2_4/2_1_1/5_2_2
656 Knit the breath out through your exhalation. 2_4_2/3_4
657 What is the narrative you are knitting with your breathing? 2_4/2_1_1
658 Your mind follows the narrative thread of your breathing as you are knitting your breath. 2_4/2_1_1/5_2_2
659 How rich is your total breath? 2_4/2_1_1
660 Sense your voluminous center with the richness of your total breathing. 2_4/2_1_1/1/4_1_1/3_1
661 Which shapes are the stones of your bones? 2_2/3_1
662 The stones of your bones are crystalizing your forms. 2_2/3_1
663 What are the fruits of your shapes? 3_1
664 The shape of this data are the fruits of your shapes. 3_1
665 How large is the landscape of your breathing? 2_4/2_1_1/4_3_2
666 Breathing through your shifting shapes allows you a greater landscape. 2_4/2_1_1/3_1/4_3_2
667 Where is your favorite front? 3_3_1/3_1
668 Try out a front. 3_3_1
669 How entangled is your shape? 3_1
670 Try out an entangled snaky shape. 3_1
671 How disformed is your form? 3_1
672 Land in a form of dis-form. 3_1
673 What is the orientation of your shape? 3_1/3_3
674 Orient towards your shape. 3_1/3_3
675 Is there stillness in your temporality? 4_1/4_2/4_2_2
676 Your temporality approaches something like a stillness. 4_2/4_2_2
677 How still is your sensation, how still is your moving? 3_2/1/4_2
678 Your stillness in sensations allow your stillness in movement. 3_2/1/4_2
679 How much water is your body? 2_3/2
680 Your body, like this planet, is mostly water. 2_3
681 Can you breath through the waters of your body. 2_3/2_4/2_1_1/3_3/2
682 You play between the breathing and the waters of your body, creating possible surfaces. 2_3/2_4/2_1_1/3_3/2/4_1/7_1
683 Where are you poring your surfaces into? 3_1/4_1
684 Poor your surfaces into other surfaces. 4_1
685 How heavy or light is your fleshy wet body? 1_3/2_3/2/4_3_6
686 Your fleshy wet body is full of weight. 1_3/2_3/2/4_3_7/4_1_2
687 Can you seep your body onto other surfaces? 2/4_1
688 Seep your body. 2
689 How do you poor yourself into the ground of the earth? 8
690 Spread your body, poor yourself from the informative surface of the ground of the earth. 2/3_1/4_1
691 Where is your fleshy form moving? 1_3/3_1
692 Feel the movement of your fleshy form. 1_3/3_1/3_2
693 How heavy or light is your relation with the space around you? 3_3/4_3_6/4_3_5/4_1
694 Take your weight in relation to the space that surrounds you. 3_3/4_1_2/4_1
695 Where is the space that surrounds your shape? 3_1/4_1
696 Relate to the space that surrounds the ground where you are in a shape. 3_1/4_1
697 When is your whole body becoming? 2
698 Your whole body becomes like a palpating paw. 2
699 How pleasurable and delicious is your contact, your touching. 1_3
700 From the pleasure of your contact, of being in touch, cross-reference a delicious feeling. 1_3/5_3_1
701 Which places of contact ignite more currency in you? 8
702 Every place where contact ignites makes a currency move all the way through you. 3_1/4_1/3_3/3_2
703 Where is the path of your soft baby going? 1_3/3_1/4_3_1
704 Find your way with your soft paw palpation. 1_3/4_3_1
705 How wet and fruity is your breathing? 2_4/2_1_1
706 You breathing is wet and fruity. 2_4/2_1_1
707 Where are your contact surfaces? 1_3/3_1/4_1
708 Change your contact surface. 1_3/4_1/5_2_4
709 Would you like to change the surfaces you contact, to change your experience? 1_3/4_1/5_2_4
710 Change the surface you contact, the surface of what you experience as your perimeter. 1_3/4_1/5_2_4
711 Are you sensing your perimeter or sensing the great body of the earth? 1/2/3_3
712 Change between sensing your perimeter and sensing the great big body of the earth. 1/2/3_3/5_2_4
713 Is there an arrival for you? 4_1
714 You have no arrival. 8
715 How far can you exceed your body by webbing, by stretching, spreading, seeping? 2/4_1
716 Exceed your body with webbing, with stretching, with spreading, and with seeping. 2
717 Are you still sensing your simple center? 3_1/1/4_2
718 All the while you sense the simple center of your breathing. 3_1/2_4/2_1_1/1
719 How does the sound shape your mouth? 1_2/1_5/2_6/3_1/2_4/2_1_1
720 Shape your mouth to let a sound live. 1_2/1_5/2_6/3_1/2_4/2_1_1
721 How do you shape yourself into the fruits of sound? 1_2/3_1
722 Shape yourself into the fruit of your sound. 1_2/3_1
723 How is your tongue resting in your mouth? 1_5/2_1_1/2_6/2_4/5_2_1
724 Let your tongue rest in your mouth like a sleeping mollusk. 1_5/2_1_1/2_6/2_4
725 How open are your ears? 1_2/2_1_1/4_3_5
726 Let your ears stay open like floral foam. 1_2/2_1_1/4_3_5
727 How relaxed are you holding your eyes? 1_1/2_1_1/4_3_5
728 Let your eyes be held in their sockets. 1_1/2_1_1
729 What is the angle of your perspective? 1_1
730 Feel the flaying of your perspective with your eyes open. 1_1/1_3/2_1_1/4_3_5/5_3_1
731 How do you sense the fleshy contact of the souls of your feet and the palms of your hands? 1_3
732 Sense the fleshy contacts through the souls of your feet and the palms of your hands. 1_3/1
733 How flexible is your face? 2_1_1
734 Chew your face. 2_1_1
735 What is the timing of your breathing, inside, outside, and around you? 2_4/2_1_1/3_3/4_2
736 Circulate your breathing with the circularity of time. 2_4/2_1_1/3_3/4_2
737 How confident are you? 8
738 You are a confident cat. 8
739 How much space does your anus take? 2_6/2_1_4/4_1
740 Let your anus take up some space. 2_6/2_1_4/3_3_5/4_1
741 Is your skin spreading? 2_5
742 Spread through your skin. 2_5
743 How much weight does your head take? 2_1_1/4_1_2
744 Let your head take weight. 2_1_1/4_1_2
745 How heavy is your head? 2_1_1/4_3_6
746 Your head is a lot of heaviness. 2_1_1/4_3_6
747 How is the relation between your neck and your head? 2_1_1/3_3/5
748 Swing the back of your head and your neck. 2_1_1/3_3_2
749 Is your skull absorbing the mask of your face? 2_1_2/2_2_1/5_2_2
750 Feel how the mask of your face melts into the back of your skull. 2_1_2/2_2_1/3_3_2/1_3
751 How narrow is your throat when you swallow? 2_1_1/2_4/2_5_6
752 Swallow and follow the sensations from the narrowness in your throat. 2_1_1/2_4/2_5_6/1/5_2_2
753 Does the inside of your neck fill the inside of your arms? 2_1_1/3_3
754 Your neck fills the inside of your arms like a long length of a fisherperson's rope. 2_1_1/3_3
755 How far can you twist the wet ropes in your arms? 2_1_1/4_1
756 The length of your arms are like a wet rope; they can twist, they can rotate. 2_1_1/3_2_3
757 How alive are the ropes of your arms? 2_1_1
758 The ropes of your arms are alive. 2_1_1
759 Is your spine a rope? 2_2_3
760 Your spine is a rope. 2_2_3
761 Where do the twists and turns of the ropes in your arms and legs take you? 2_1_1/2_1_3/3_1/3_2_3
762 The ropes of your legs twists and turns. 2_1_1/2_1_3/3_2_3
763 How overwhelming are your movements to your simple center? 3_2/3_1
764 Your simple center allows any movement to become overwhelming. 3_2/3_1
765 Where is your front and your back, your left and your right, your up and your down? 3_3_1/3_3_2/3_3_3/3_3_4/3_3_5/3_3_6/3_1
766 Return to your front and your back, your left and your right, and your up and your down. 3_3_1/3_3_2/3_3_3/3_3_4/3_3_5/3_3_6
767 Where is your in and your out? 3_1
768 Return to your in and your out. 8
769 Where is the place in between directions? 3_3/3_1/4_1
770 Return to the place in between directions. 3_3/3_1/4_1
771 When are your senses closing and opening? 1/4_3_5/4_3_6/4_2
772 Your senses close and open. 1/4_3_5/4_3_6
773 Are your endings embed in your beginning? 4_2_2
774 Your endings are embedded in beginnings. 4_2_2
775 Is there an inhale in your exhalation? 2_4/2_1_1/4_1/2_4_1/2_4_2
776 Inhale in your exhalation. 2_4/2_1_1/2_4_1/2_4_2
777 Where is your way? 3_1
778 Find your way. 5_2_2
779 How can you be on your feet? 2_1_3
780 Find your way into a form where you can be on your feet. 2_1_3/3_1
781 How long is this now? 4_2_4
782 This can take a little while. 4_3_1
783 Where are your feet? 2_1_3/3_1
784 Start finding your feet. 2_1_3/4_2_2/5_2_2
785 How much weight can the fleshy feeling full surfaces of your feet take? 1_3/2_1_3/2_5/4_3_7/4_1_2/4_1/5_3_1
786 Your feet, as fleshy feeling full surfaces that can also take weight. 1_3/2_1_3/2_5/4_3_7/4_1/4_1_2/5_3_1
787 Are your feet like flippers? 2_1_3
788 Your feet look like flippers. 2_1_3
789 How deep do your feet root? 1_3
790 Your feet as ambulatory root systems. 1_3
791 Can you walk with your roots? 8
792 Your roots are made for walking. 8
793 What game is there between the polarities of your feet? 2_1_3/3_3/4_1/5_3_9
794 When you find your feet, play with the movement between the polarities of your feet. 2_1_3/3_3/3_2/5_3_9/5_2_2
795 How does the weight of your head relate to the surface of the souls of your feet? 2_1_1/2_1_3/4_1_2/5_1
796 Let your head hang down, so you can really feel the surface of the soul of your foot. 2_1_1/2_1_3/3_3_6/1_3/4_1/5_3_1
797 Are the souls of your feet as the palms of your hands? 1_3/2_1_3/2_1_1
798 Express the souls of your feet as the palms of your hands. 1_3/2_1_3/2_1_1/5_3_1
799 How do you express the front of your space? 3_3_1/4_1/5_3_1
800 Express the front of your space. 3_3_1/4_1/5_3_1
801 How dynamic is your paddling? 4_3
802 Paddle onward, likei the dynamics of riding a bike. 4_3
803 What is coming up, is it a rebound? 3_3_5
804 There is a rebound that comes up. 3_3_5/4_1
805 Where do you feel a shaking growing? 3_1/1_3/5_3_1
806 There is a little shake that grows from the bottom. 4_1/4_3_1/3_3_6
807 Are you a tremor or an earth quake? 8
808 You could be a tremor, or an earth quake. 8
809 How tiny do you feel the tremors? 1_3/5_3_1
810 You feel a tiny tremor. 1_3/5_3_1
811 Are you a mosquito? 8
812 You are a mosquito batting her wings. 8
813 How are you hitting the surface of the floor? 1_3/4_1
814 You hit the surface of the floor like a dewdrop hitting the surface of a pond. 1_3/4_1
815 Are you waking up, rumbling? 3_3_5
816 Rumble, wake up. 3_3_5
817 When is the beginning of your ending? 4_2_2/4_2
818 Sense the beginning of your end. 1/4_2_2
819 How fast are your bones shaking? 2_2/4_3_8
820 Shake your bones. 2_2
821 How is your skin sack wrapping around your movement? 2_5/3_3/3_2
822 Your skin sack is soft around your movement. 2_5/3_3/3_2
823 How do your hands hold the space of your shapes? 2_1_1/3_1/4_1
824 Your hands hold the space of your shapes. 2_1_1/3_1/4_1
825 Where is your mind in the palms of your hands? 2_1_1/3_1/5_3
826 Put a little mind in the matter of your palms. 2_1_1/5_3
827 How even is the flesh of your own existence? 1_3/2_5
828 Even the flesh of your own existence. 1_3/2_5
829 From what orientation can you reflect? 3_3/5_3
830 Come into an orientation where you can reflect. 3_1/5_3/3_3/5_3
831 How many questions are moving around you? 3_2/3_3
832 A few questions are moving you around, coming up or going down. 3_2/3_3/3_3_5/3_3_6
833 What is documenting, what is happening? 8
834 You are a document happening. 8
835 What are your feet writing? 2_1_3/7_1
836 You are writing with your feet. 2_1_3/7_1
837 What is your body and how far does it extend? 4_1/4_2_2/2/3_2_2
838 Your body is extending. 4_2_2/2/3_2_2
839 Where is your body, and where have you come from? 3_1
840 Your path starts at your body. 2/4_2_2
841 What is the shape of your searching? 3_1/5_3_7
842 Shape your searching. 3_1/5_3_7
843 What are you in touch with? 1_3
844 You are in touch through your moving. 1_3/3_2/3_3
845 Where is your breathing moving from? 2_4/2_1_1/3_1/3_2
846 Your breathing is still moving from your simple center, front and back, left and right. 2_4/2_1_1/3_2/3_3_1/3_3_2/3_3_3/3_3_4/4_2/3_1
847 How pleasurable is the surface of your body, spreading over other surfaces? 2_5/2/4_1
848 The pleasurable surface of your body spreads over the surfaces that you contact. 2_5/4_1/2
849 Are you landing? 8
850 You are still landing. 4_2
851 Are your lines of thought finished? 4_2_2/5_3
852 Finish your thoughts and your lines. 4_2_2/3/5_3
853 Can you let it go? 5_2_4
854 You can let it go. 8
855 How do you come to standing? 8
856 Come to standing. 8
857 How soft and liquid are your eyes? 1_1/2_1_1/4_3_1/4_3_3
858 Allow your eyes to be fluid and soft. 1_1/2_1_1/4_3_1/4_3_3
859 Have you paused? 4_2_2
860 Take a moment to pause. 4_2_1/4_2_2
861 Are you inviting your breath? 2_4/2_1_1/5_2_2
862 Invite your breath. 2_4/2_1_1/5_2_2
863 In which direction do you allow your eyes to drift? 1_1/3_3/2_1_1
864 Allow your eyes to take a slow drift in any direction you like. 1_1/3_3/2_1_1/4_3_7
865 What are your eyes calling you for? 1_1/2_1_1
866 Your eyes call you to shift a little, to dive away. 1_1/2_1_1/4_3_1
867 How simple is the way of your eyes? 1_1/2_1_1
868 Follow your eyes in a very simple way, nothing choreographed. 1_1/2_1_1/7_2
869 Are you catching the light? 1_1/4_3_1
870 Perhaps you are catching the light. 1_1/4_3_1
871 How do you fold yourself into the room? 4_1
872 Fold yourself into the room. 4_1
873 How flat are the qualities you fold yourself into? 4_3
874 Fold yourself into a flat quality. 4_3
875 What do you receive from your periphery? 4_1
876 Receive your ambiguous periphery. 4_1
877 Have you enfolded in this environment? 4_1
878 You enfold in the environment. 4_1
879 How fast is your pace, are you following, slowing down, quickening? 3_3_6/4_2_2/4_3_7/4_3_8
880 Notice your pace, decide to follow, slow down or quicken up. 3_3_5/3_3_6/4_3_7/4_3_8/1
881 Are you coming to a landing where you arrive? 3_1
882 Arrive at some place where you feel you come to a landing. 3_1/1_3/4_1/5_3_1
883 How vibrant is this stillness? 4_2/4_3_1
884 Sense a vibrant stillness. 1/4_2/4_3_1
885 How deeply do you enter into the unknown? 5_3
886 An invitation to enter more deeply into the unknown. 5_3
887 From here and now, how many seconds do you want to take? 4_1/4_2_4
888 From here and now, take about thirty seconds. 4_1/4_2_4
889 Is there a decay in light? 1_1/4_1/4_3_1
890 There is a slow decay of light. 1_1/4_1//4_3_1
891 Are you allowing yourself to enter your inner world? 3_3
892 Allow yourself in this closure, into your inner world. 3_3
893 Do you notice the fragments of soft light? 1_1/4_3_1/5_2_2
894 You still notice fragments of soft light, a showdown falling, a slippage. 1_1/3_3_6/4_2/4_3_1/5_2_2
895 When is your enfolded breathing unfolding? 2_4/2_1_1/5_2_2/4_2
896 Unfold your enfolded breathing. 2_4/2_1_1
897 Where do you sense your inner-fold calling? 3_1/3_3
898 Sense your inner-fold calling. 3_3/1
899 Are you letting go? 5_2_4
900 Let it go. 5_2_4
901 Who are you unfolding yourself in? 5_2_2
902 Unfold yourself in an other. 5_2_2
903 How many layers is your depth? 2_5
904 Layer your depth. 2_5
905 What is your shape from within? 3_1
906 Shape from within. 3_1
907 How quickly do you arrive and depart, regenerate and fall away? 4_3_8
908 See how quickly you arrive and depart, regenerate and fall away. 1_1/4_3_8
909 Can you enfold in the matrix of your inner life? 3_3
910 Enfold in the matrix of your inner life. 3_3
911 Are your eyes softening all the way? 1_1/2_1_1/4_3_1
912 Soft eyes all the way. 1_1/2_1_1/4_3_1
913 Have you entered into a fold? 8
914 Enter into a fold. 8
915 When do you mutate into something else? 4_2
916 Mutate into something else. 8
917 How do you reverse blink you eyes? 1_1/2_1_1/5_2_4
918 Reverse blink your eyes, open it and close quickly. 1_1/2_1_1/4_3_5/4_3_8/5_2_4
919 What are you capturing with your blinking? 1_1/5_3_2
920 Capture something with your blinking. 1_1
921 How slow are your eyes blinking? 1_1/2_1_1/4_3_5
922 Slowly your blinking becomes longer. 1_1/4_3_5/4_2_2
923 How open should your eyes be in order to come into this world? 1_1/2_1_1/4_3_5
924 Slowly open your eyes, an opening through which you can come into this world. 1_1/2_1_1/4_3_5/3_3
925 Can you take the world inside you? 3_3
926 Take the world inside you. 3_3
927 Can you turn your skin-side out? 1_3/2_5/3_2_3
928 Sensing, skin-side out. 1_3/2_5/1
929 Where are the imprints of your movements? 3_1
930 Make a moving imprint in the bent and folded space. 3_2/4_1
931 Are you bringing this to a close? 4_3_6
932 Take your time, bring this to a close. 4_3_6/4_2
933 What are you harvesting from your experience? 8
934 Take some time to harvest from your experience. 4_2
935 How are your thoughts moving you, your images, and your imagination? 3_2
936 Move with your thoughts, your images, and your imagination. 3_2
937 Is this special, or just a literal wash? 8
938 This is nothing special, just a literal wash. 8
939 What comes up and how does it come up? 3_3_5
940 Whatever comes up, however it comes up. 3_3_5
941 What is changing in the room of your mind? 4_1/5_3/5_2_4
942 Your mind is a changing room. 4_1/5_3/5_2_4
943 How glazy are you soft eyes? 1_1/2_1_1/4_3_1
944 Keep your eyes soft, glaze your eyes. 1_1/2_1_1/4_3_1
945 Is the unknown entering? 5_3
946 Allow the unknown to enter. 5_3
947 Are you entering into the unknown? 5_3
948 Entering into the unknown. 5_3
949 What washes up from the shore? 3_3_5
950 Your movement is washing up from the shore. 3_3_5/3_2
951 How long can you continue folding? 4_2/4_2_2
952 You continue folding. 4_2
953 Are you becoming a body? 2
954 Become a body. 2
955 Have you landed in your space? 4_1
956 Land in your space. 4_1
957 Have you left where you just were? 3_1/3_3_3
958 As you are descending into space, you leave where you just were. 3_1/4_2_2/4_1
959 What form are you reentering into? 3_1
960 Reenter into a new form. 3_1
961 How far are you sensing? 1/4_1
962 Sensing all along the way. 1
963 Is your perception getting ahead of your sensing? 1
964 Your perception is getting ahead of your sensing. 1
965 How slow are you closing your eyes, softening your eyes? 1_1/2_1_1/4_3_7/4_3_1
966 Make a slow closure of your eyes, soften your eyes. 1_1/2_1_1/4_3_7/4_3_1
967 How liquid are your eyes when you close them? 1_1/2_1_1/4_3_6/4_3_3
968 The meeting of your eyelashes make your eyes more liquid. 1_1/2_1_1/4_3_3/5_1
969 How much dust is there in the decaying light? 1_1/4_1/4_3_1
970 The light is becoming as dust, prickling and decaying. 1_1/4_3_1
971 Where is your breath unfolding into? 2_4/2_1_1/3_1/5_2_2
972 Your breath is unfolding into the folds of your lungs. 2_1_1/2_1_2/2_4/5_2_2
973 Has your heartbeat fade away? 2_3/2_1_2/5_2_4
974 Your heartbeat fades away. 2_3/2_1_2/5_2_4
975 How deep are you when you sit, spread, and shrivel? 4_2
976 You can sit and go deeper, spread and shrivel. 8
977 Are you riding the process? 8
978 Allow yourself to ride the process. 8
979 How deep can you go into the crypt of yourself? 8
980 Go deeper into the crypt of yourself. 8
981 Are you a vapor? 1_4
982 Become a vapor. 1_4
983 Where are the surfaces leading you? 2_5/3_1/4_1
984 Lead onto surfaces. 2_5/4_1
985 How much outer world is there in your inner world? 3_3/4_1
986 Take in the outer world into your inner world. 3_3
987 Is there a tension in the in between? 3_3/4_1/4_3_7
988 Feel the tension of the in-between. 3_3/1_3/4_3_7
989 How intimate and how expansive is the filling space? 4_1
990 Intimately and expansively you fill up the space. 3_3_5/4_1
991 How does growth enter into this space, how does it unfold? 4_1/5_2_2
992 The space is entering in your unfolding growth. 4_1/5_2_2
993 Is your terrain melting and reforming? 3_1/5_2_3
994 The decay is a terrain, it is melting and reforming. 3_1
995 Are you blending with whatever has shifted in you? 4_2_2/5_2_4
996 Take in a closing, blend with whatever has shifted within you. 4_2_2/5_2_4
997 Are you taking in the matter? 8
998 Take in the matter. 8
999 How many layers of support are accumulating when you regenerate? 2_5/3_3_5
1000 Allow yourself to accumulate layers to support. 2_5/3_3_5
1001 How easy can you shift positions and change levels? 3_1/5_2_4
1002 Shift positions the with ease of changing levels. 3_1/5_2_4
1003 Have you retained fragments and pieces of you moving? 3_2
1004 Retain the fragments, the pieces of your moving. 3_2
1005 Are you more active when you shift your state? 5_2_4
1006 Your state shifts and you become more active. 5_2_4
1007 What narrative brings you forward? 3_3
1008 Your narrative brings you forward. 3_3
1009 How many minutes do you take to find closure? 4_2_2/5_2_2
1010 Take another minute or two to find closure. 4_2_2
1011 Can you stop your landing, do you keep hovering above your ending? 3_3_5/4_2_2
1012 Never quite end your landing, hover above your ending. 3_3_5/4_2_2
1013 Are you in the moment, in the imagery? 4_2_1
1014 Stay in the moment, in the imagery. 4_2_1
1015 Where is your body in this space? 3_1/2/4_1
1016 Find your own body in this space. 2/4_1/5_2_2
1017 Which movement patterns have you introduced? 3_2/5_2_2
1018 Introduce a movement pattern. 3_2/5_2_2
1019 How simply are you shifting weight? 4_1_2/5_2_4
1020 Simply shift your weight. 4_1_2/5_2_4
1021 How slowly can you make a contrast? 4_3_7/5_2_4
1022 Echo and slowly contrast your pattern. 4_3_7/5_2_4
1023 What is the mirror of what you are relating to? 5_1
1024 Honor what you are relating to by mirroring. 5_1
1025 Does your flesh has its own dance? 1_3/7
1026 Let your flesh be in its own dance. 1_3/7
1027 How is the rhythm of your flesh? 1_3/4_2_2
1028 Each fleshy part has its own rhythm. 1_3/4_2_2
1029 Are the other people in the room an extension of this room? 3_2_2/4_1/5_1_1
1030 See the other people in the room as an extension of the room. 1_1/3_2_2/4_1/5_1_1
1031 How much is lost between here and there? 3_3/4_1
1032 Loose what is in between here and there. 3_3/4_1/4_3_5
1033 What action can you take? 8
1034 Wonder what action you can take. 8
1035 Do you support the land? 3_3_5
1036 Support the land. 3_3_5
1037 How deep is your connection to this land? 5_2_2
1038 Make deep connections to the land. 8
1039 How does your backspace feel? 3_3_2/1_3/5_3_1
1040 Feel into your backspace. 3_3_2/1_3/5_3_1
1041 Where are the vibrations in this room? 3_1/4_2_3/4_1
1042 Feel the vibrations in this room. 1_3/4_2_3/4_1/5_3_1
1043 Which territories do you occupy with your body? 2/3_3_5
1044 Become aware of the territories you occupy with your body. 2/3_3_5
1045 How does your body hold your histories? 2
1046 Your body holds your territories. 2
1047 Do you have other ways of knowing? 5_3
1048 Stay open to other ways of knowing. 4_3_5/5_3
1049 Are you in the center? 3_1
1050 Remove yourself from the center. 3_1
1051 Are you inhabiting your moments of distortion? 4_2_1/5_2_3
1052 Inhabit a moment of distortion. 4_2_1/5_2_3
1053 Where is your own space? 3_1/4_1
1054 Search for your own space. 4_1
1055 How off guard do your arrivals catch you? 8
1056 Let yourself be caught off guard by arrivals. 8
1057 Are your arrivals bumpy? 8
1058 Look for the bumpiness in your arriving. 1_1
1059 Is this pleasurable? 8
1060 Find a way to extract pleasure. 5_2_2
1061 What do you want to do? 8
1062 From this place of searching, switch to what you want to do. 4_1/5_2_2
1063 Does your body have any questions? 2
1064 Sense the question coming from your body? 2/1/5_3_7
1065 What comes up? 3_3_5
1066 See what comes up. 1_1/3_3_5
1067 What did you just do? 8
1068 Retrieve memories of what you just did. 5_3_3
1069 Have you captured your memory? 5_3_3
1070 Capture your memory. 5_3_3
1071 Can you stay in change? 5_2_4
1072 Stay in movement, keep changing. 3_2/5_2_4
1073 How does your memory dance you? 5_3_3/7
1074 Allow your memory to dance you. 7/5_3_3
1075 Are you the music? 5_1_3
1076 You are the music. 5_1_3
1077 Are you uncomfortable? 8
1078 Lean into the uncomfortable. 8
1079 With how much of your body are you looking into the space? 1_1/2/4_1
1080 Look into the space, not only with your eyes, but with all your extensions. 1_1/2_1_1/4_1/3_2_2
1081 Can all of your senses look into the space? 1_1/1/4_1
1082 Look into the space with all your senses. 1_1/1
1083 What is the size of your change? 5_2_4
1084 The next time you change, notice the size of your change. 4_2_2/5_2_4/5_2_2
1085 Can you shake off what is happening right now? 4_2_4
1086 Whatever is happening right now, just shake it off. 4_2_4
1087 How open can you leave it? 4_3_5
1088 Leave it as open as possible. 4_3_5
1089 Is your score open? 4_3_5/7_2
1090 Allow yourself an open score. 4_3_5/7_2
1091 How revitalizing are your memories? 5_3_3
1092 Revitalize your memories. 5_3_3
1093 What part of you is foreign? 8
1094 Familiarize with a part of you that is foreign. 8
1095 How is your inner relation with yourself? 3_3
1096 Focus on your inner relation with yourself. 3_3/5_1
1097 What is your own language? 8
1098 Find your own language. 5_2_2
1099 How deep is your contact with the floor? 8
1100 Deepen your contact with the floor. 8
1101 How deep is what you are doing and experiencing? 8
1102 Deepen into what you are doing right now and what you are experiencing. 4_2_4
1103 How weighted are you? 4_1_2
1104 Connect to your weight, to what is weighted, to what dangles. 4_1_2/5_2_2
1105 Can you deepen what you are doing by transforming it, shifting your speed? 3_1/4_1_3/5_2_4
1106 Deepen what you are doing by transforming it, shifting the speed. 3_1/4_1_3/5_2_4
1107 What kind of space are you inhabiting right now? 4_1/4_2_4
1108 You are inhabiting the space right now. 4_1/4_2_4
1109 How much saliva is collecting and where does it lead you? 2_6/3_1/4_1
1110 Sense how your saliva is collecting, follow your saliva. 2_6/1
1111 How deep can you go down your somatic systems? 2/3_3_6
1112 Go down through all kinds of somatic systems. 2/3_3_6
1113 Can you follow your swallowed saliva down your digestive track? 2_6/3_3_6
1114 Swallow and follow your saliva down into your digestive track. 2_6/3_3_6
1115 Where is the bottom of your torso, your anus, your pelvic floor? 2_2_2/2_6/2_2_4/2_1_4/3_1
1116 Arrive at the bottom of your torso, your anus, your pelvic floor. 2_2_2/2_6/2_2_4/2_1_4
1117 What are your possible futures? 4_2_4
1118 Scan through your last half year and your possible futures. 4_2_2/3_3/4_2_4
1119 What memories are accessible to you right now? 4_2_4/5_3_3
1120 Scroll softly through your personal archives, your memories that are accessible. 4_3_1/3_3/5_3_3
1121 What images are popping up? 3_3_5
1122 Move with the images that pop up. 3_2/3_3_5
1123 How tightly are you holding on to yourself while you keep moving your body? 3_2/2
1124 Loosely hold on to yourself, keep your moving with you and come to standing. 3_2/4_3_5
1125 What is happening? 8
1126 Build onto what is happening. 8
1127 How rigid is your idea of a grid? 5_3
1128 At first, stay rigid with your idea of a grid. 4_2_2/5_3
1129 Are you using you eyes or your hands to get information, or both? 1_1/1_3/2_1_1/3_1
1130 Use your eyes and your hands to get information. 1_1/1_3/2_1_1/3_1
1131 Are you curious? 8
1132 Take your time to get curious. 4_2
1133 Can you take your hands? 1_3/2_1_1
1134 Take your hands. 1_3/2_1_1
1135 How can your hands explore your face? 1_3/2_1_1/5_3_4
1136 Take your hands and explore your face. 1_3/2_1_1/5_3_4
1137 Where do you feel the traces of your lines? 1_3/3_1/5_3_1
1138 Feel the traces of your lines. 1_3/5_3_1
1139 Are you including the lines in your hair and in your forehead? 1_3/2_2_1
1140 Include the lines that you can feel in your hair or in your forehead. 1_3/2_2_1/5_3_1
1141 How do the lines serve you? 8
1142 Find the lines that serve you. 5_2_2
1143 How do the lines talk about you? 8
1144 The lines in your skin talk about you. 2_5
1145 Which little movements are increasing the lines in your skin? 2_5/3_2/4_3_1
1146 Make little movements to increase the lines in your skin. 2_5/3_2/4_3_1
1147 How is your neck? 2_2_1
1148 Explore your neck. 2_2_1/5_2_2
1149 Is there a different feeling between the tissues of skin on your face and on your neck? 1_3/2_2_1/3_3/4_1/5_3_1
1150 Feel the different tissues of your skin between your head, your face, and your neck. 1_3/2_1_1/3_3/5_3_1
1151 How are your bones involved in your movement? 2_2/3_2
1152 Your bones are involved in your movement. 2_2/3_2
1153 How are your muscles involved in your movement? 2_1/3_2
1154 Your muscles are involved in your movement. 2_1/3_2
1155 How do the lines in your skin inform your somatic systems? 2_5/2/3_1
1156 The lines in your skin inform your somatic systems. 2_5/2/3_1
1157 What flavor do you have now? 4_2_4
1158 Taste your flavor. 1_5
1159 Are you going with it? 8
1160 Let's go. 8
1161 Where in the space are you spread out? 3_2/3_1/4_1
1162 Spread out in the space. 4_1
1163 How defined are your lines? 4_3_4/5_3_7
1164 Your lines are more defined. 4_3_4/5_3_7
1165 Will you come back to this later? 4_2_2/3_3_2
1166 You will come back to this later. 4_2_2/3_3_2
1167 Where are the lines of your ribs taking you? 2_2_2/3_2/3_1
1168 Follow the lines of your ribs. 2_2_2
1169 Have you let go of one part? 5_2_4
1170 Let go of one part. 5_2_4
1171 Does your tail belong to the lines of your body? 2_2_3/2
1172 Your tail does not belong to your lines anymore. 2_2_3
1173 How open can you leave your exploration? 4_3_5/5_3_4/5_2_4
1174 Leave your exploration open. 4_3_5/5_2_2
1175 Are you sensing your ribs or your cage? 2_2_2/1
1176 Sense not your cage but your ribs. 2_2_2
1177 How do you meet yourself? 8
1178 Meet yourself. 5_1
1179 How strong is the motor of your movement? 3_2/4_3_2
1180 Your lines are motors, generators of movement. 3_2
1181 What lines are you belonging to? 8
1182 You belong to your line. 8
1183 Are your movements free? 3_2/4_3_5
1184 Your movements are free. 3_2/4_3_5
1185 What are you discovering in space? 4_1
1186 Help yourself to discover space. 4_1
1187 Where are you dropping into the floor? 3_1
1188 Drop into the floor. 8
1189 How are you yielding into the floor? 8
1190 Yield into the floor. 8
1191 How strongly or softly are you breathing into the floor, into the earth? 2_4/2_1_1/4_3_1/4_3_2
1192 Breathe into the floor, into the earth. 2_4/2_1_1
1193 Have you absorbed our surrounding sounds? 1_2/4_1/5_2_2
1194 Absorb your surrounding sounds. 1_2/4_1/5_2_2
1195 Where is your horizontal place? 3_1/4_1
1196 Sense your horizontal place. 1/4_1
1197 Is your mouth a reaching limb? 1_5/2_1_1/2_6/2_4
1198 Your mouth is a reaching limb. 1_5/2_1_1/2_6/2_4
1199 How small is the reach of your moving? 3_2/4_3_1
1200 Explore your moving as a small reach. 3_2/4_3_1
1201 Where is the root of your pelvis? 2_2_4/3_1
1202 Sense the roots of your pelvis. 2_2_4/1
1203 Where does your worm-like motion start? 3_1/3_2/4_2_2
1204 Your motion starts between your mouth and your anus. 3_2/2_4/2_6/2_1_1/4_2_2
1205 Are you taking it easy on yourself? 8
1206 Take it easy on yourself. 8
1207 Where are your limbs in this picture? 2_2_4/2_2_5/2_2_6/3_1
1208 Take your limbs out of the picture. 2_2_5/2_2_6
1209 What is your first motivating area? 4_2_2/4_1
1210 Find your first motivating area, your mouth. 2_4/2_6/2_1_1/4_1/4_2_2
1211 Have you meet the floor, the earth? 8
1212 Meet the floor, meet the earth. 8
1213 What entity is bellow you? 3_3_6
1214 Meet the entity bellow you. 3_3_6
1215 From what place can you initiate clearly? 4_1/4_3_4
1216 From there you initiate clearly. 4_1/4_3_4
1217 How deep is your muscular structure? 2_1
1218 Feel your deep muscular structure. 2_1/1_3/5_3_1
1219 Is there an underlying reach of your mouth? 1_5/2_1_1/2_6/3_3_6/4_1/2_4
1220 There is no underlying reach of your mouth. 1_5/2_1_1/2_6/3_3_6/4_1/2_4
1221 When do you start to meet your upper limbs? 2_2_4/3_3_5/4_2_2/5_1
1222 Start to meet your upper limbs. 2_2_5/3_3_5/4_2_2/5_1
1223 Have you opened your eyes, are you planning to open your eyes? 1_1/2_1_1/4_3_5/5_3_8
1224 Open your eyes from time to time. 1_1/2_1_1/4_2/4_3_5
1225 Are you witnessing yourself? 1_1
1226 Witness yourself. 8
1227 Is your mouth a limb, is your anus a limb? 1_5/2_1_1/2_1_4/2_6/2_4
1228 Your mouth is a limb, your anus is a limb. 1_5/2_1_1/2_1_4/2_6/2_4
1229 How do your reach your partner? 5_1
1230 Reach your partner by a spinal motion. 2_1/3_2/5_1
1231 Which pattern are you setting as the ground for other patterns? 8
1232 Your pattern sets the ground for other patterns. 8
1233 Have you found your notes? 5_2_2
1234 Shift to find your notes. 5_2_4
1235 Do you think your are ready? Do you want to start clustering? 4_2_2/5_3_7
1236 When you think you are ready, you can start to cluster. 4_2_2/5_3_7
1237 Have you started from your adult form? 3_1/4_2_2
1238 You start from your adult form. 3_1/4_2_2
1239 Is your coccyx a loose structure? 2_1_5/4_3_5
1240 Consider your coccyx as a loose structure. 2_1_5/4_3_5/5_2_1/5_3_8
1241 Where are your sensorial perception spaces? 1/3_1/4_1
1242 Find your sensorial perception spaces. 1/4_1/5_2_2
1243 When do you have the opportunity to play with your patterns? 5_3_9
1244 You always have the opportunity to play with your patterns. 5_3_9
1245 How do you find your observations? 1_1
1246 Your observations are beautiful. 1_1
1247 How organically are you moving? 3_2
1248 Move more organically. 3_2
1249 Where do you find support in your moving? 3_2/3_1/3_3_5
1250 Sometimes you find support in your movement. 3_2/3_3_5
1251 Where have you inhabited little corners before? 3_1/4_2_2/4_3_1
1252 Inhabit the little corners. 4_3_1
1253 Are you following your score, are you sticking to your score? 7_2/5_2_2
1254 Follow your score, stick to your score. 7_2/5_2_2
1255 When can you let your score go? 7_2/4_2
1256 Let the score go. 7_2
1257 When do you return to your score? 7_2/4_2
1258 Return to your score. 7_2
1259 How strong is your sensorial support when you dance? 1/3_3_5/4_3_2/7
1260 Notice your sensorial support when you dance. 1/3_3_5/5_2_2/7
1261 Is your dance freeing your insights, is your dance a commentary? 4_3_5/7
1262 Allow your dance to free your insights, your dance is a commentary. 4_3_5/7
1263 Where would you drop your dance? 3_1/7
1264 Don't drop your dance. 7/5_2_4
1265 Where is the map of your bones taking you? 2_2/3_1/5_3_8
1266 You follow the map of your bones. 2_2/5_3_8
1267 Have you entered the realm of your fluids? 2_3
1268 You enter the realm of your fluids. 2_3
1269 How do your spiral inwards? 3_3
1270 You spiral inwards. 3_3
1271 Where is a circle you can sit in? 3_1
1272 Go towards a circle. 3_3
1273 How far is the pathway of your fluids going? 2_3/4_1
1274 Follow the pathways of your fluids. 2_3
1275 Where is your spiral arriving from? 3_1
1276 Your spirals arrives from your inside. 3_3
1277 Can you release the notions you do not capture? 8
1278 If you don't capture certain notions, you release them. 8
1279 Where are the spaces between you and others? 3_3/3_1/4_1/5_1_1
1280 Find the spaces between you and others. 3_3/4_1/5_1_1
1281 How gently are you navigating space? 4_1
1282 You gently start to navigate space. 4_1/4_2_2
1283 How thick is the space when you get close to somebody? 4_1/4_3_6/5_1_1
1284 The space thickens when you get close to somebody. 4_1/4_3_6/5_1_1
1285 Is your space open? 4_1/4_3_5
1286 Your space is open. 4_1/4_3_5
1287 Are you connecting to the others and connecting yourself to the space? 4_1/5_2_2/5_1_1
1288 You connect yourself to the others and you connect yourself to the space. 4_1/5_2_2/5_1_1
1289 Are you connecting to your space? 4_1/5_2_2
1290 Connect yourself to your space. 4_1/5_2_2
1291 How heavy or light is your blood? 2_3/4_3_6/4_3_5
1292 There is some weight in your blood. 2_3/4_1_2
1293 How much are your pumping muscles watering your heart? 2_1/2_3/2_1_2
1294 The pump of your muscles is watering your heart. 2_1/2_3/2_1_2
1295 How is the flow of your heart? 2_3/2_1_2/4_3_5
1296 Bring the flow back to your heart. 2_3/2_1_2/4_3_5
1297 Where are your nerves leaving your spinal chord? 2_1/3_1
1298 Sense your nerves leaving your spinal cord. 2_1/1
1299 What do you sense inside of your movement? 3_3/1/3_2
1300 Sense and feel into your movement. 1/3_3/1_3/3_2
1301 Where is your awareness leading to? 3_1
1302 You follow your awareness. 5_2_2
1303 Who is guiding your breath? 2_4/2_1_1/5_2_2
1304 You guide your breath. 2_4/2_1_1/5_2_2
1305 Are you connecting to your matrix? 5_2_2
1306 This is your matrix connecting. 5_2_2
1307 Where is your ending? 3_1/4_2_2
1308 Find your ending. 4_2_2/5_2_2
1309 Is your heart rooting? 2_3/2_1_2
1310 You root your heart. 2_3/2_1_2
1311 How is your dance settling? 7
1312 Slowly, you let your dance settle. 7
1313 How much space are you absorbing? 4_1/5_2_2
1314 Absorb the space.

Revisitations of improvisation

1316 Make your architecture clear in your physique. 3_1
1317 How clear is the architecture of your body? 2/3_1
1318 Sense the gravity as a lightness and vividness. 1/4_1_1/4_3_1/4_3_8
1319 How much gravity is there? 4_1_1/4_1
1320 The space is organized in round shapes. 3_1/4_1/5_3_8
1321 In which shapes is the space organized? 3_1/4_1/5_3_8
1322 Your body is looking around like a peacock. 1_1/2
1323 How does your body look? 1_1/2
1324 Catch sight of those who want to share in your gaze. 1_1/5_1_1
1325 Who wants to share your gaze with you? 1_1/5_1_1
1326 Explore your playful elasticity. 4_2_2/5_3_9
1327 How playful is your elasticity? 4_2_2/5_3_9
1328 Overarch movements with phrases in order to guide your dance. 3_2/7_1/7
1329 Are your phrases guiding your dance? 7/7_1
1330 Develop your postures. 3_1/5_2_2
1331 What are your postures developing into? 3_1/5_2_2
1332 Make your timing clear by pausing. 4_2_1/4_2_2
1333 What is the timing of your pauses? 4_2_1/4_2_2
1334 Suspend repetitions in the horizontal plane. 4_3_7/4_2_2/5_2_1
1335 What are you suspending? 4_3_7/4_2_2/5_2_1
1336 Find out what your dance needs. 7
1337 What does your dance need? 7
1338 Jump into the massive space. 4_1
1339 How massive is this space? 4_1
1340 Visualize and see the contours of your movements. 1_1/3_2/6_1
1341 Can you see the contours of your movements? 1_1/3_2
1342 Your performance is an intrusion in this space. 4_1/3_1/7_3
1343 How intrusive is your performance in this space? 4_1/3_1/7_3
1344 Create a distance between you and your dance. 3_3/4_1_3/7
1345 How much distance is there between you and your dance? 3_3/4_1_3/4_1/7
1346 Let your environment determine how restricted your spatial use is. 4_1
1347 How strict is your spatial use? 4_1
1348 Your movement envelops yourself. 3_2
1349 Can you open your enveloped movements? 3_2/4_3_5
1350 Center on what is new and unknown. 3_1/5_3
1351 What is new and unknown? 5_3
1352 Disperse your movements. 3_2
1353 How dispersed are your movements? 3_2
1354 Recognize your dance movements. 3_2/7
1355 Do you recognize your dance? 7
1356 Loosen the boundaries of your dancing. 4_3_6/4_3_5/7
1357 When does your dancing loosen its boundaries? 4_3_6/4_3_5/7
1358 Invite yourself to do what your dance already manifests. 7
1359 Are you allowing yourself to manifest what is already in your dance? 7
1360 Let go of the task. 7_2
1361 Can you let go of the task? 7_2
1362 Don't loose yourself. 4_3_5
1363 Have you lost yourself? 8
1364 Forget this moment instantaneously. 4_2_1/5_2_4
1365 What happens when you instantaneously forget about this moment? 4_2_1/5_2_4
1366 Choregraph also what is not moving. 3_2/7_2
1367 Can you create a choreography of what is not done? 7_2
1368 Coordinate yourself through your disorienting embodiment. 2/3_3/5_3_8
1369 How coordinated can you make your embodiment? 2/5_3_8
1370 Structure what feels temporal. 4_2/1_3/4_2_2
1371 Can you structure more what feels temporal? 4_2/1_3/4_2_2
1372 Make your writing visible. 8
1373 Is your writing visible? 8
1374 Write the invisible. 8
1375 How are you writing the invisible? 8
1376 Anticipate your movements before you let them exit through your dance. 3_3/4_2_2/7/5_2_2
1377 Do you anticipate your movements before they exit through your dance? 3_3/4_2_2/7/5_2_2
1378 Bring your mind to a close. 4_3_6/5_3
1379 Are you bringing your mind to a close? 5_3/4_3_6/5_3
1380 Bring your mind as close as possible to your body. 2/4_3_6/5_3
1381 How close can you bring your mind to your body? 2/5_3/4_3_6
1382 Confront your dancing. 7
1383 What happens when you confront your dancing? 7
1384 Betray your understanding of your movements. 2/3_3_6/5_3_4
1385 How do you betray your understanding of your movements? 2/3_3_6/5_3_4
1386 Overcome destructive failure by fantastic failures. 6_1
1387 Are you failures destructive or fantastical? 6_1
1388 Enjoy the pleasure of faking mastery of physics. 4
1389 Are you enjoying the pleasure of faking mastery of physics? 4
1390 Betray any upcoming strategy of phrasing. 3_3_5/7_1
1391 Can you betray your upcoming strategies, your phrasing? 3_3_5/7_1
1392 Let the music softly touch your skin. 1_2/1_3/2_5/4_3_1/5_3_1
1393 How soft is the touch of the music on your skin? 1_2/1_3/2_5/4_3_1/5_3_1
1394 Indulge in the reverberation of your sounds. 1_2/4_2_3
1395 How intense can you indulge in the reverberations of your sounds? 1_2/4_3_2/4_3_7/4_2_3
1396 Let your environment turn into your amplifier. 4_1/3_2_3
1397 Is your environment your amplifier? 4_1
1398 Push internally, from one side to another. 8
1399 From where are you pushing internally? 3_1
1400 Flirt with your soma. 2
1401 Are you flirting with your soma? 2
1402 Harness the playground of the sounds. 1_2/2_2/5_3_9
1403 How do you harness the playground of these sounds? 1_2/2_2/5_3_9
1404 Try to be as close as possible, without moving the hairs on your skin. 1_3/2_5/3_2/4_3_6
1405 How close can you get to the hairs on your body? 1_3/2_5
1406 The skin of all the players unfolds. 1_3/2_5/2_2/5_3_9
1407 How are the skins of all the players unfolding? 1_3/2_5/2_2/5_3_9
1408 Specify the task of your dancing. 7/7_2
1409 What is specific about your dance? 7
1410 Visualize the hairy space. 6_1/4_1
1411 How hairy is this space? 4_1
1412 Visualize this space as an ocean, or an aquarium. 6_1
1413 Is your visualization of this space more likely an ocean or an aquarium? 4_1/6_1
1414 Sense the movements and the interactions of the hairs on your skin. 1_3/2_5/1
1415 What are the movements and interactions of the hairs on your skin? 1_3/2_5/3_2
1416 Take away possibilities. 8
1417 How many possibilities do you have right now? 4_2_4
1418 Feel the small electric frictions you make. 1_3/5_3_1
1419 How do the small electric frictions feel? 1_3/5_3_1
1420 Give density to your body. 2/4_3_7
1421 How dense is your body? 2/4_3_7
1422 Sense your liquid body. 2_3/2/1
1423 How liquid is your body? 2_3/2
1424 Close down your complex relation with awareness. 4_3_5/4_3_6/3_3_6/5_1/5_2_2
1425 Is your relation with your awareness more closed or opening? 4_3_5/4_3_6/5_2_2/5_1
1426 Let your awareness wrinkle. 5_2_2
1427 Are there wrinkles in your awareness? 4_1/5_2_2
1428 The hairs on your skin make knots in this space. 2_5/4_1
1429 Are the hairs on your body making knots in this space? 2_5/2/4_1
1430 First react to yourself, later react to your environment. 4_1/5_2_2
1431 Are you first reacting to your environment, or to yourself? 4_3_1/5_2_2
1432 Be tempted to loose focus. 4_3_5/5_3_2
1433 How tempted are you to loose focus? 4_3_5/5_3_2
1434 Do not be overcome by the outside space. 4_1/3_3
1435 Does the outside space overcome you? 4_1/3_3
1436 Find your focus again. 4_2_2/5_3_2
1437 Have you found your focus again? 4_2_2/5_3_2
1438 Your joints are cliffs you can fall into. 2_2
1439 How deep can you fall into the cliffs of your joints? 2_2
1440 Tumble into the waterfalls of your liquid body. 2_3/3_3_2/2
1441 When are you tumbling back into the waterfalls of your liquid body? 2_3/3_3_2/4_2
1442 Let your big movements rush your body into a clear direction. 2/3_2/4_3_4/3_3/4_3_2
1443 How fast are your big movements rushing your body? 4_3_8/4_3_2/2
1444 Actively relate to your constant falling and recovering. 4_2/5_1
1445 How do you relate to your constant falling and recovering? 4_2/5_1
1446 Answer to the fulness of your experiences. 4_3_7/5_2_2
1447 Can you answer to the fullness of your experiences? 4_3_7/5_2_2
1448 Listen to the calls from the outside. 1/3_3
1449 How is the outside calling you? 1/3_3
1450 Enter into a dryer space. 1_3/4_1
1451 How dry is the space you are entering? 1_3/4_1
1452 Attempt to open up the spaces in-between. 3_3/4_3_5/3_3_5
1453 Can you open up the spaces in-between you and others? 3_3/4_1/4_3_5/3_3_5/5_1_1
1454 Paint your relations to this environment with movements. 3_2/4_1/5_1
1455 How are you painting your relations to this environment? 4_1/5_1
1456 Shift the planes of your body in relation to this environment. 2/4_1/5_1/5_2_4
1457 Are the planes in your body shifting in relation to this environment? 2/4_1/5_1/5_2_4
1458 Get looser by the sounds that you hear. 1_2/4_3_5
1459 How loose are the sounds that you hear yourself making? 1_2/4_3_5
1460 Follow your temptations into darkness and lowness. 8
1461 Are you tempted by your darkness and lowness? 8
1462 Fade in and fade out of the different tools that support your dancing. 3_3_5/5_2_1/5_2_4/7
1463 When do different tools fade in and out of your dance? 5_2_1/5_2_4/7/4_2
1464 Empty your spatial awareness. 4_1/5_2_2
1465 Is your spatial awareness empty? 4_1/5_2_2
1466 Provoke your memories of movements. 3_2/3_2/5_3_3
1467 How provocative is the memory of your movements? 3_2/5_3_3
1468 Follow the rhythm of your thoughts into your steps. 4_2_2/5_3
1469 Where is the rhythm of your thoughts taking your steps? 4_2_2/3_1/5_3
1470 Open up to how the environment is disturbing your images. 4_1/3_3_5/4_3_5/5_2_3
1471 How is the environment disturbing your images? 4_1/5_2_3
1472 Project your images and disturb them. 5_2_3
1473 How are you disturbing your projected images? 5_2_3
1474 Try to figure out how your body is triggered by its landscape. 4_1
1475 When is your body triggered by its landscape? 4_1/2/4_2
1476 Get lost in your dance. 7
1477 Are you lost in your dance? 7
1478 Turn the pages of your dance as clearly as you turn the pages of a book. 3_2_3/7/4_3_4
1479 Can you turn the pages of your dance as clearly as you turn the pages of a book? 3_2_3/7/4_3_4
1480 Make full dispersions. 4_3_7
1481 How fully are you dispersing? 4_3_7
1482 Move like sounds spread. 1_2/3_2
1483 Are you spreading out like sound? 1_2
1484 Bounce of the gravitational forces. 4_1_1/4_1_2
1485 Can you bounce along with the gravitational forces? 4_1_1/4_1_2
1486 Clear out what you developed so far. 4_3_4/4_1/5_2_2
1487 Would you like to clear out what you developed so far? 4_3_4/4_1/5_2_2
1488 Accept that sounds will never be stable. 1_2/4_1_4
1489 Do you accept that sounds will never be stable? 1_2/4_1_4
1490 Revolve, like a loaded gun. 8
1491 Are you loaded like a revolving gun? 8
1492 Your unknown is taking over. 5_3
1493 When is your unknown taking over? 5_3/4_2
1494 Conquer your abstract body. 2
1495 Which abstract body are you conquering? 2
1496 Guide where your movements go to and come from. 3_1/3_2/4_3_4
1497 Are you guiding your movements, where they go to and where they come from? 3_1/4_3/3_2/4_3_4
1498 Infuse your dancing with everything you would like to address. 7
1499 What would you like to address in your dance and how can you infuse this? 7
1500 Be foreign to yourself, so you can be a hospitable. 8
1501 How foreign are you becoming to yourself in order to be hospitable? 8
1502 Your dance is a call back to the sounds. 1_2/7
1503 Are you preventing a callback from your dance to the music? 7/5_3_1
1504 Push your movements back into their amplifying spaces. 3_3_2/3_2/4_1
1505 How are you rushing your movements back into their amplifying spaces? 3_3_2/3_2/4_1
1506 Stay alive in your pauses and in your held positions. 3_1/4_2_2
1507 Are you staying alive in your pauses and in your held positions? 3_1/4_2_2
1508 Your dancing is an excursion to the architecture of this place. 3_1/4_1/7
1509 How is your dance unfolding its excursion to the architecture of this place? 3_1/4_1/7
1510 This is a children's game. 5_3_9
1511 How is this game? 5_3_9
1512 Engage with something when it is fun. 5_2
1513 Are you allowing yourself to be part of something fun? 8
1514 Overcome the rules, the boundaries of this game. 5_2_4/5_3_9
1515 When are you overcoming the rules and the boundaries of this game? 5_2_4/5_3_9/4_2
1516 Your sounds are soft. 1_2/4_3_1
1517 How soft are your sounds? 1_2/4_3_1
1518 Let your sounds direct the membranes in your body. 1_2/2
1519 Are you sounds tangible in your body? 1_2/2
1520 Breathe through your choices. 2_4/2_1_1/3_3/5_3_7
1521 How much are you breathing through your choices? 2_4/2_1_1/3_3/5_3_7
1522 Notice your capacities and your potential. 5_2_2
1523 How full is your awareness of your capacities and your potential? 4_3_7/5_2_2
1524 Just doing is enough. 8
1525 Is just doing enough? 8
1526 Cover up your dancing. 3_3_5/7
1527 Are you covering up your dance? 3_3_5/7
1528 Avoid movements. 3_2
1529 Which movements are you avoiding? 3_2
1530 When every movement has the same value, none have. 3_2
1531 Do your different movements have different qualities? 3_2/4_3
1532 Decide where to lay your anchor. 3_1
1533 Where lies your anchor? 3_1
1534 Softly overarch your movements. 3_2/4_3_1
1535 How explicit or soft are the arches of your movements? 3_2/4_3_1
1536 Render your experiences into an atmosphere. 4_2_2
1537 How are you rendering this atmosphere? 4_2_2
1538 Develop a dreamscape, a play in which your body is the protagonist. 2/5_3_9
1539 Are you the protagonist of your dance, of your play? 7/5_3_9
1540 Make your dance a seduction. 7
1541 How easily is your dance seducing you? 7
1542 Seduce the music through your dancing. 1_2/3_3/5_1_3/7
1543 Are you seducing the music through your dancing? 1_2/3_3/5_1_3/7
1544 You do not have to answer any questions. 5_3_7
1545 Are you answering questions? 5_3_7
1546 Be out of your mind. 5_3
1547 Are you out of your mind? 5_3
1548 Your are opposing the architecture, the objects, and the other bodies. 3_1/2/5_2_3
1549 Are you opposed to the architecture, the objects, or the other bodies? 3_1/2/4_1/5_2_3
1550 Materialize the pitches in the sounds. 1_2
1551 How many pitches in the sound can you materialize? 1_2
1552 This performance place is a field of emotions. 4_1/3_1/3_2/7_3/5_3_1
1553 Is your performance place a field of emotions? 4_1/3_1/3_2/7_3/5_3_1
1554 Push the sounds against each other. 1_2/4_2_2/5_1_1
1555 How hard can you push the sounds against each other? 1_2/4_2_2/4_3_2/5_1_1
1556 You are dancing like a playful puppy, looking to find its tail. 3_3_5/2_2_3/7/1_2/5_3_9
1557 As what animal would your visualize the sounds or the music? 1_2/6_1/5_1_3
1558 You are dancing like cat that is trying to catch a shadow. 7
1559 Where are the shadows of your dance? 3_1/7
1560 Fool around with the feelings of the music. 1_2/1_3/5_3_1/5_1_3
1561 Are you fooling around with the feelings of the music? 1_2/1_3/5_3_1/5_1_3
1562 Choose one form at a time. 3_1/4_2/5_3_1/5_3_7
1563 How many forms are you selecting per movement? 3_1/3_2/5_3_2
1564 Make sure your movements stays voluntary. 3_2
1565 Are you choosing, is your dance voluntary? 5_3_1/7/5_3_7
1566 Open yourself towards a group fantasy. 4_3_5/3_3_5/3_3/5_1_2/6_1
1567 What is our group fantasy? 3_3_5/5_1_2/6_1
1568 Collide together with what centers your body. 3_1/2
1569 Are you colliding with the center of your body? 3_1/2
1570 Sneak into your mind in an erotic way. 5_3
1571 How are you sneaking into your mind? 5_3
1572 Flavor your dance with the salts of your hairy body. 2_5/2/7
1573 Are you sweaty? 2_5
1574 Sweat your movements away. 2_5/3_2
1575 What are you sweating out? 2_5
1576 Do not get intoxicated by the bitters of psychological tension. 4_3_7/5_3_1
1577 Can you release some emotional tensions? 4_3_7/3_2/5_3_1
1578 All of your movements fit together like a children's puzzle. 3_2
1579 Which children's game are you playing? 5_3_9
1580 Throw your dance aside. 7
1581 Where are you throwing your dance? 3_1/7
1582 Split your sensors open. 1/4_3_5
1583 How open are your sensors? 1_1/1_2/1_3/1_4/1_5/4_3_5
1584 Respond to the resonances of your full body. 2/4_3_7/4_2_3/5_2_2
1585 Are you responding to the resonances of your full body? 2/4_3_7/4_2_3/5_2_2
1586 Find your place in relation to the sounds. 1_2/4_1/5_1
1587 Where is your place in relation to the sounds? 1_2/3_1/4_1/5_1
1588 Try to materialize your lines of thought. 5_3
1589 How are your lines of thought in your reflections? 5_3
1590 Situate your joints. 2_2
1591 Where do you situate your joints? 2_2/3_1
1592 Make one choice and look into it. 5_3_7
1593 Can you stick to one choice and look deeper into it? 5_3_7
1594 Stay with your skull on top of your dancing. 2_2_1/3_3_5/7
1595 Is your skull still on top of your dancing? 2_2_1/3_3_5/4_2/7
1596 Sense the big pulsations in the space and sense how they affect you. 1/4_1
1597 Are there pulsations in the space that affect your elasticity? 4_1/4_3_3/4_2_2
1598 Slide through the big pulsations in this performance space. 3_3/4_2_2/4_1/3_1/7_3
1599 How are you shifting through the big pulsations in this performance space? 3_3/3_1/7_3/4_1
1600 Get lost in-between. 3_3
1601 Are you lost in the in-between spaces? 3_3/4_1
1602 Get lost in the negative space. 4_1
1603 Are you lost in the negative space? 4_1
1604 Shape-shift and fade through your transitions. 3_1/5_2_4/5_2_1
1605 When are you shape-shifting and fading through transitions? 3_1/5_2_4/5_2_1/4_2
1606 Choose when to reflect and when to reflex through movements. 3_3/3_2/5_3/5_3_7
1607 Do you reflect, or reflex through movements? 3_3/3_2/5_3
1608 Catch up with your mind. 3_3_5/5_3
1609 Have you caught up with your mind? 3_3_5/5_3
1610 Catch up with your body. 2/3_3_5
1611 Have you caught up with your body? 2/3_3_5
1612 Completely enter into a dramatic space. 4_1
1613 Have you completely entered a dramatic space? 4_1
1614 The hairs on the surface of your body are spreading out into the space. 2_5/4_1
1615 Where are the hairs on the surface of your body taking you? 2_5/3_1/4_1
1616 Your majestic body can infiltrate via grotesque movements. 3_2/2
1617 How grotesque are the infiltrations of your majestic body? 2
1618 Find your grandiosity in a small juvenile place. 4_1/4_3_1
1619 How small is your juvenile place? 4_1/4_3_1
1620 Let your dance overgrow the architecture and the music. 1_2/3_1/5_1_3
1621 How is your dance growing into the architecture and into the music? 1_2/3_1/5_1_3
1622 Fool around with your energy. 3_3/4_3
1623 Are you fooling around with your energy? 3_3/4_3
1624 Make a joyful understanding with your imagination. 3_3_6/5_3_4/6_1
1625 Are you in a joyful understanding with your imagination? 3_3_6/5_3_4/6_1
1626 Your dance is addressing the architecture. 3_1/5_1_3/5_2_2/7
1627 How are you addressing the architecture? 3_1/5_1_3/5_2_2
1628 Propose a clear relationship with the architecture. 3_1/5_1_3
1629 How are you proposing your relations to the architecture? 3_1/5_1_3
1630 Unfold in adult pleasures. 8
1631 What adult pleasure are you unfolding in? 8
1632 Develop movements with pride. 3_2/5_2_2
1633 How hidden or full of pride are you developing your movements? 3_2/4_3_7/5_2_2
1634 Be direct in your interpretation. 4_3_4/5_3_5
1635 How direct is your interpretation? 4_3_4/5_3_5
1636 Make long bows of tension, sentences, and lines that can become a narrative. 4_3_7/5_2_2
1637 Are your bows of tension, sentences and lines, developing into a narrative? 4_3_7/5_2_2
1638 Address the music. 1_2/5_2_2/5_1_3
1639 How do you want to address the music? 1_2/5_2_2/5_1_3
1640 Seduce your beautiful surroundings. 4_1
1641 How to seduce your beautiful surroundings? 4_1
1642 Find the magnetic field that is drawing you into the physics of this space. 4/4_1
1643 Is there a magnetic field that draws you into the physics of this space? 4/4_1
1644 Play like a zombie, a football, or a penguin. 5_3_9
1645 Are you a zombie, a football, or a penguin? 8
1646 Your impossible is constantly changing. 4_2
1647 What is your impossible? 8
1648 Shift your relation to your inside-space. 3_3/4_1/5
1649 How are you shifting your relation inside-out? 3_3/5
1650 Internalize the sounds and the music. 1_2/5_1_3
1651 Have you internalized the sounds and the music? 1_2/5_1_3
1652 Your environment is an atmosphere. 4_1
1653 Where did the outside atmosphere of your environment go to? 3_3/4_1/3_1
1654 Your skull is making gestures to your environment. 2_2_1/3_1/4_1
1655 What gestures is your skull making to the environment? 2_2_1/3_1/4_1
1656 Develop the oscillations of your joints. 2_2/4_2_2/5_2_2
1657 How much are the oscillations of your joints developing? 2_2/4_2_2/5_2_2
1658 You spread your joints in this space. 2_2/4_4_2/4_1
1659 How far are the oscillations of your joints spreading in this space? 2_2/4_2_2/4_1
1660 Make connections to the back of your head and your jaw. 2_2_1/5_2_2/3_3_2
1661 Are you still connected to the back of your head and your jaw? 2_2_1/4_2/5_2_2/3_3_2
1662 Address your inner space with lots of freedom. 4_1/3_3/5_2_2/3_3_2
1663 How are you addressing your inner space? 4_1/3_3/5_2_2
1664 Your movement materials are reflecting the tools you use in your composition. 3_2/5_3/7_2
1665 How do you relate to your movements? 3_2/5_1
1666 Clarify the tools you use in your composition. 7_2/5_3_4
1667 What tools do you use in your composition? 7_2
1668 Settle down when you micromanage your small movements. 3_2/4_3_1/3_3_6
1669 Is micromanaging your small movements unsettling you? 3_2/4_3_1
1670 Caress your ticklish skin. 1_3/2_5
1671 How ticklish is your skin? 1_3/2_5
1672 Sense your skin from the inside to out. 1_3/2_5/3_3/1
1673 From where are you sensing your skin? 1_3/2_5/3_1/1
1674 The hairs on the surface of your body feel the softness of this space. 1_3/2_5/4_1/2
1675 How soft does this place feel, to the hairs on the surface of your body? 1_3/2_5/4_1/2
1676 There can be no soft friendliness without some hard being. 4_3_1/4_3_2/4_1/4_2_2
1677 How hard is your being and how soft is your friendliness? 4_3_1/4_3_2/4_2_2
1678 Wait for your sensations, if you push them they will conquer you. 1/5_2_1
1679 Are you pushing your sensations? 1
1680 Dance with the round curly hairs on the surface of your skin. 2_5/2/4_1/7
1681 How are the hairs on the surface of your body dancing? 2_5/2/7/4_1
1682 Every quality is a continuum. 4_3/4_2
1683 How continuous are your qualities? 4_3/4_2
1684 Every state is a continuum. 4_2
1685 How continuous are your states? 4_2
1686 Consider all the tools you can play with. 5_3_9
1687 Have you considered other tools you can play with? 5_3_9
1688 Dance your movements as a narrative. 3_2/7
1689 Is your dance a narrative? 7
1690 Make spacious interpretations with your movements. 3_2/4_1/5_3_5
1691 How spacious are your interpretations of your movements? 3_2/4_1/5_3_5
1692 The space is liquid, filled with liquid lines. 4_1/4_3_3/2_3
1693 Can you visualize the space as liquid, filled with liquid lines? 4_1/4_3_3/2_3/6_1
1694 Stimulate the vibrations of your full body. 2/4_2_3/4_3_7
1695 How much is your full body vibrating? 2/4_2_3/4_3_7
1696 Let go what has been processed by your body or any other person. 2/5_1_1
1697 Are you holding on to what is already processed by your body or by any other person? 2/5_1_1
1698 Play and operate in this field of choreography. 4_1/5_3_9/7_2
1699 How do you operate in this choreographic field? 4_1/5_3_9/7_2
1700 Time your dance differently in your memory and in your fantasy. 4_2/7/5_3_3/6_1
1701 How much time is in between your memories and your fantasies? 3_3/4_2/5_3_3/6_1
1702 Relate to the task in a different fashion. 7_2
1703 Are you still relating to the task in the same way? 4_2/7_2
1704 Embody states of your future self. 2/4_2_4
1705 How could you embody states of your future self? 2/4_2_4
1706 Dry up and cool down your body with the pitches of these sounds. 1_2/2/3_3_5/3_3_6
1707 Is your body getting dryer and cooler by the pitches of these sounds? 1_2/2
1708 Create a temporal map of your choreography. 3_3_2/4_2_2/4_2/7_2
1709 Can you find your movements back on the temporal map of this choreography? 3_3_2/4_2_2/4_2/7_2
1710 Unfold your composition. 7_2
1711 How much have unfolded your composition? 7_2
1712 Your state is moving the planes of your body. 2/3_2
1713 Which states are moving the planes of your body? 2/3_2
1714 Move along the directions that your movements project. 3_2/3_3
1715 In which directions are your projected movements taking you? 3_2/3_3
1716 Place your composition around your body, around your thoughts of movements. 3_3/2/4_1/7_2/5_3
1717 Is your composition moving around your body, around your thoughts of movements? 3_3/2/7_2/5_3
1718 Suck up every line and every point with your body. 2/3_3_5
1719 How much lines, points, and volumes can you suck up with your body? 2/3_3_5
1720 Make volume for the pressure in your environment. 4_1/4_1_1
1721 How much pressure is there in your near environment? 4_1_1/4_1/4_1_3
1722 Strengthen your connections to the space and its density. 4_1/4_3_6
1723 How strong is your connection to the space and its structure? 4_3_2/4_1
1724 Your body records the structures in your environment. 2/4_1
1725 How do you record the structures in your environment? 4_1
1726 Sense the density of the sounds in this environment. 1_2/4_1
1727 How dense is the sound map of this environment? 1_2/4_1
1728 Translate the pressure of this space into your body. 2/4_1/4_1_1
1729 How can you translate the pressure of this space into your body? 2/4_1_1/4_1
1730 Hoover above a state of self-reference. 3_3_5
1731 How self-referential are you? 8
1732 Allow the darker side of yourself to surface. 8
1733 When is the darker side of yourself surfacing? 4_2
1734 Position yourself in-between your gaze and the space. 1_1/3_3/4_1/3_1
1735 Where do you position yourself between your gaze and the space? 1_1/3_1/3_3/4_1
1736 Answer to the different qualities of your dance. 4_3/7
1737 What are the different qualities in your dance? 4_3/7
1738 Compose with emotions and flirt with provocations. 3_2/7_2/5_3_1
1739 How provocative are you composing your emotions? 3_2/7_2/5_3_1
1740 Strategically relate to yourself, so it doesn't become awkward. 5_1
1741 How are you relating to yourself? 5_1
1742 This can feel awkward at first. 4_2_2/1_3
1743 Is this awkward? 8
1744 Offer your dancing. 7
1745 What are you offering? 8
1746 Dance like being part of a human forest. 7
1747 What part are you playing in the human forest? 5_3_9
1748 Let your jumps guide you. 8
1749 Where are your jumps guiding you? 3_1
1750 Invite your arms to be stronger. 2_1_1/4_3_2
1751 How strong are your arms? 2_1_1/4_3_1
1752 Your phrasing opens up and closes your movements. 4_3_5/4_3_6/3_2/3_3_5
1753 When are your movement phrases opening up and closing down? 3_2/4_3_5/4_3_6/3_3_5/3_3_6/4_2
1754 Experience the sounds as a landscape. 1_2/4_1
1755 What landscape are the sounds creating? 1_2/4_1
1756 Invite yourself to dwell into your gestural memories. 3_1/5_3_3
1757 What are you retrieving from your gestural memory? 3_1/5_3_3
1758 Dive down in the muddy waters of movements and open up through slow a dance. 3_3_6/3_2/4_3_5/4_3_7/3_3_5/3_3_6/7
1759 How slow and muddy can your dancing become? 4_3_7/7
1760 Detox and rejuvenate through dancing. 7/3_3
1761 How is your dance rejuvenating you? 7
1762 You are revolving and turning around, encircling what is in your center. 3_3/3_1
1763 Are you avoiding what is in your center? 3_1
1764 The sounds are encircling the center of your mind. 3_1/1_2/5_3
1765 What is in the center of your mind? 3_1/5_3
1766 You find a comfortable place for your body and connect to the outside. 3_3/2/4_1
1767 Where is the place of your body in this connection? 4_1/2/3_1
1768 Your macrostructure develops like a fractal. 5_2_2
1769 How is your macrostructure developing? 5_2_2
1770 Unfold into the rhythmical space. 4_2_2/4_1
1771 How are you addressing the unfolding rhythms? 4_2_2
1772 Keep wondering and don't find stability. 4_1_4
1773 Are you wondering about stability? 4_1_4
1774 It is not always necessary to be stable. 4_1_4
1775 Is it necessary to be stable? 4_1_4
1776 Find out what game you are developing. 5_3_9/5_2_2
1777 Where are the structures to develop a game? 3_1/5_3_9/5_2_2
1778 Relax in the instability caused by your questions. 4_1_4/4_3_5
1779 Are your questions causing instability? 4_1_4
1780 Stumble over the emptiness in this space. 4_1
1781 Have you already tumbled over the emptiness in this space? 4_1
1782 Glorify silences and singularities. 1_2
1783 How glorious are the silences and singularities to you? 1_2
1784 This space becomes a vacuum. 4_1
1785 How vacuum can the space become? 4_1
1786 You create openness, like having a long-distance relationship with your movements. 3_2/4_3_5/5
1787 How open are you in your relation to your movements? 3_2/4_3_5/5
1788 Your dance is a letter to yourself. 7
1789 What are you writing in the letter that is this dance to yourself? 7
1790 Write your movements in the memories of a silence. 1_2/5_3_3
1791 How do you remember the silence of the sounds? 1_2/5_3_3
1792 Make it easy to approach yourself. 8
1793 How easily can you approach yourself? 8
1794 Enter into your dance, like you enter into a warm living room. 7
1795 Did you already enter into your dance? 7
1796 Invest in your movements, do not waist time in space. 3_2/4_2/4_1
1797 How much are you filling up the space? 4_1/3_3_5
1798 You are filling the space that is here, now. 4_1/4_2_4
1799 The space is there, now how do you fill it? 4_1
1800 Find suspension. 4_3_7/5_2_1
1801 Are you suspending? 4_3_7/4_2_2/5_2_1
1802 Drive up your energy, until it rages you on through this space. 3_3/4_3/4_1/3_3_5
1803 Sense how much energy you need to rage through this space? 3_3/4_3/4_1
1804 Your movements are falling like dominos. 3_2
1805 How many movements are you dropping at a time? 3_2/4_2
1806 Your dancing cannot be stopped. 7/4_2_2
1807 Can your dancing be stopped? 7/4_2_2
1808 Approach your dance, make it pause and suspense. 4_2_2/4_3_7/5_2_1/7
1809 When are your pausing and when are you suspending? 4_2_2/4_3_7/5_2_1/4_2
1810 Unveil your dancing body. 2/7/
1811 What is your dancing body unveiling? 2/7/
1812 Keep in contact with the emotional capacities of your body. 2/3_2/5_3_1
1813 What is the emotional capacity of your body? 2/3_2/5_3_1
1814 Stroke the hairs on the surface of your body with this environment. 1_3/2_5/2
1815 When do the hairs on the surface of your skin feel different? 1_3/2_5/4_2
1816 Your roundness has explicit implications for your dancing. 7
1817 What are the explicit implications of your roundness? 8
1818 Share in the remembrance of your performance. 3_1/7_3/5_3_3
1819 What will you remember of your performance? 3_1/7_3/5_3_3
1820 Acclimatize to your fortunate positions in this environment. 3_1/4_1
1821 How fortunate are your positions in this environment? 3_1/4_1
1822 Make exchanges between what worked and what you overthrown. 3_3
1823 What has been working, and what is overthrown? 8
1824 Your dance is the record player of this environment. 4_1/7/5_3_9
1825 Is your dancing the record player of this environment? 4_1/7/5_3_9
1826 Emerge from a specific task. 7_2
1827 What specificity is emerging in your tasks? 7_2
1828 Let your task have its own offspring in your movement. 3_2
1829 How does your task develop in your movements? 3_2/5_2_2
1830 Understand your dancing through moving and minding. 3_2/3_3_6/5_3/7
1831 Do you understand your dancing through your moving or through your minding? 3_2/3_3_6/5_3/7
1832 Unfold the continuous balancing of your motion. 3_2/4_2/4_1_4
1833 How continuous are you balancing your motion? 3_2/4_2/4_1_4
1834 Limit the endless variations of your patterns in time. 4_2/4_2_2
1835 How endless are the variations of your repetitions and loops? 4_2/4_2_2
1836 Your experiences of centrifugal and centripetal forces are growing. 4_3/4_1_2
1837 How strong are you experiences of centrifugal and centripetal force? 4_3/4_1_2
1838 Your gaze is overviewing the large magnitude of this place. 1_1/4_3_2/4_1
1839 Can your gaze still cope with the magnitude of this space? 1_1/4_1/4_2
1840 Address the physics with a soft understanding that is not focusing on your brain. 4/4_3_1/2_1/3_3_6
1841 How soft is your understanding of the physics? 4/4_3_1/3_3_6
1842 Peel of your movements and eat up their sounds. 1_2/3_2/3_3_5
1843 What is the sound of your movements? 1_2/3_2
1844 Throw your dance for the dogs to play with. 5_3_9/7
1845 Are you a dog fooling around with a dance? 3_3/7
1846 You can rely on the force of your natural and primal presence. 4_3/4_1_2
1847 Can you rely on the force of your natural and primal presence? 4_3/4_1_2
1848 Hear the monstrous vibrational calling from the deep end of your movement. 3_2/4_2_3/4_2_2
1849 How deep are the vibrations of your movements calling from? 3_2/4_2_3
1850 You need to dive through the colors of your sounds. 1_2
1851 How deep can you dive into the colors of your sounds? 1_2
1852 Overarch the temporality of your dance. 4_2/4_2_2/7
1853 Where do the arches of your dancing lead to? 3_1/7
1854 There is a calling from your inside space. 3_3/4_1
1855 Is there a calling from your inside space? 3_3/4_1
1856 Anticipate the color palette of what is already in the space. 1_1/4_1
1857 What is the color palette of this space? 1_1/4_1
1858 Make a distinction between the hairs and the layers of your skin. 2_5/3_3
1859 How can you feel the differences between the layers of your skin? 2_5/3_3/1_3
1860 Extend and expand your connections into this space. 3_2_2/4_1/4_2_2
1861 How far do you extend and expand your connections into this space? 3_2_2/4_1/4_2_2
1862 The humidity of the hairs on your skin help you to unfold. 1_3/2_5
1863 How humid are the hairs on the surface of your skin? 1_3/2_5
1864 Glue your movements together. 3_2
1865 Are you gluing your movements together? 3_2
1866 There is no connection to the wind any more. 1_3/4_1
1867 What is your connection to the wind? 1_3
1868 The softness of your environment meets the direct vastness of your body. 4_3_1/4_1/4_3_4/2
1869 Where is the meeting of your vast body and the soft environment most sensitive? 3_1/2/4_3_1/4_1/1
1870 To feed your dance means to share it. 7
1871 With whom are you sharing your dance? 7
1872 Share in the space between your dance and the music. 3_3/4_1/5_1_3/7
1873 What is your share, in the space between your dance and the music? 3_3/4_1/5_1_3/7
1874 Relate to your disbalances and dissonances. 1_2/4_1_4
1875 Are you aware of disbalances or dissonances? 1_2/4_1_4
1876 Your need for change is infecting your need to stay focused. 5_3_2
1877 How much change can you make without changing your focus? 5_3_2
1878 Do not loose your gaze. 1_1
1879 Where is your gaze? 1_1/3_1
1880 Be the most important player in this performance, even if you do not move. 3_2/3_1/7_3/5_3_9
1881 Does your dance need more movements? 3_2/7
1882 Experience your deep awareness, softly roll back your eyes? 1_1/3_3_2/2_1_1
1883 How are you experiencing your deep awareness, are you rolling back your eyes? 1_1/3_3_2/2_1_1
1884 Find your lizard-like or reptile-like state of awareness. 8
1885 How is your reptile- or lizard-like state of awareness? 8
1886 Find your alert state of the in-betweenness. 3_3
1887 How alert are you in space and an in-between spaces? 3_3/4_1
1888 Your reptilian alertness is the basic state in your performance. 3_1/7_3
1889 When does your alertness tend to a reptilian state of awareness? 4_2_2/4_2
1890 Make the continuity in your composition explicit. 4_2/7_2
1891 Is your continuity explicit enough? 4_2
1892 Dwell through a desert landscape of impulses, but stay alert. 4_1/4_3
1893 Can you stay alert in this desert landscape of impulses? 4_1/4_3
1894 Do not take the facts of your dancing for granted. 7
1895 Are you taking your dancing for granted? 7
1896 Find triangular structures in your body, a lower, a middle, and a higher. 2/3_3_5/3_3_6/4_1
1897 Where are the triangular structures in your body? 2/3_1
1898 Join in the extremities of your movements. 3_2
1899 Can you join in the extremities of your movements? 3_2
1900 Guide yourself to the outside of your dance through the negative spaces. 4_3_4/3_3/7
1901 Where are the negative spaces of your dance guiding you? 3_1/4_3_4/7
1902 Allow, afford and provoke a slippage. 8
1903 Are you allowing yourself to slip? 8
1904 Your openness to the space, to the shapes, are senseless. 3_1/4_3_5/4_1/1
1905 How much sense is there in your relation to this space and its shapes? 3_1/1/4_1
1906 React to no sounds. 1_2
1907 How do you react to no sound? 1_2
1908 Let your senses reshape your body continuously. 3_1/1/2/4_2
1909 Are you reshaping your body continuously? 3_1/2/4_2
1910 Your performance space is also an internalized space. 4_1/3_1/7_3
1911 How internalized is your performance space? 4_1/3_1/7_3
1912 Take physical risks. 8
1913 Are you taking physical risks? 8
1914 Prolong your forms, let them articulate and reverberate in your dance. 3_2/3_1/4_2_3/7
1915 Which forms are articulated, prolonging, or reverberating in your movements? 3_2/3_1/4_2_3
1916 Your dance demands clearness. 4_3_4/7
1917 How clear is your dance? 4_3_4/7
1918 Do not let your imagination alter your movements or your trajectories. 3_2/3_3/6
1919 Is your imagination altering your movement trajectories? 3_2/3_3/6
1920 Let your dancing demand more from you. 7
1921 Is your dance demanding enough from you? 7
1922 Open up to the possibilities of abstract and conceptual embodiment. 2/4_3_5/3_3_5
1923 How abstract or conceptual is your embodiment? 2
1924 There is not so much space left for interpretation. 4_1/5_3_5
1925 Is there still space left for interpretation? 4_1/4_2/5_3_5
1926 Don't locate but displace yourself in the environment. 4_1
1927 Where are you located? 3_1/4_1
1928 Displace yourself. 4_1
1929 Would you like to displace yourself? 4_1
1930 Be the conductor of this area. 4_1
1931 Are you the conductor of this area? 4_1
1932 Infuse your environment with an illusive frame. 4_1
1933 Can you see the illusive frame of this performance space? 1_1/4_1/3_1/7_3
1934 Allow yourself to drift away on your movements. 3_2
1935 Are you allowing yourself to drift away on your movements? 3_2
1936 Your internal space is transforming to your outside. 3_3/4_1/3_1
1937 How is your internal space transforming your outside? 3_3/4_1/3_1
1938 Your outside is largely shaped by your borderlines, your skin. 1_3/2_5/3_1/3_3
1939 How is your skin, your borderline, shaping your outside? 1_3/2_5/3_3/3_1
1940 Make your memories more explicit. 5_3_3
1941 Are your memories explicit? 5_3_3
1942 Some of your impulses provoke, other withdraw. 4_3/4_1
1943 Which of your impulses are too provocative? 4_3/4_1
1944 Your dance becomes more explicit. 7
1945 Is your dance explicit? 7
1946 Go into what you already know. 5_3
1947 Where does, what you already know, lead you to? 3_1/5_3
1948 Take a moment to verify what range of emotions you already felt. 1_3/3_2/5_3_1
1949 What range of emotions do you feel? 1_3/3_2/5_3_1
1950 Jump fully into the avalanche, into the gaps that your dancing opens. 4_3_5/4_3_7/7
1951 How deep are the gaps between you and your dance? 3_3/7
1952 Experience the fulness of being in a musical space. 1_2/4_3_7/4_1/5_1_3
1953 How fully can you experience this musical space? 1_2/4_3_7/4_1/5_1_3
1954 Experience how your joy activates your molecules. 8
1955 What emotions are activating your molecules? 3_2
1956 Make the membranes of your body sensitive and visible. 2_5/2/1
1957 Can you make the membranes of your body more sensitive? 2_5/2/1
1958 Activate your positive energy. 4_3
1959 How active is your positive energy? 4_3
1960 Drain the molecules of their liquids. 2_3/4_3_3
1961 How liquid are your molecules? 2_3/4_3_3
1962 Specialize in specific types of movement. 3_2
1963 What kind of movements are your specialty? 3_2
1964 Allow your body to disappear inside yourself. 3_3/2
1965 Is your body disappearing? 2
1966 Your joints are opening up a liquid environment. 2_2/2_3/4_3_5/4_3_3/4_1/3_3_5
1967 How much are your joints opening up? 2_2/3_3_5/4_3_5
1968 Your corporeality is not a material thing, it is a liquid substance. 2_3/4_3_3
1969 Of what material is your corporeality? 8
1970 The hairs on the surface of your skin create an electric environment. 1_3/2_5/4_1
1971 How high is the electric current created by the hairs on the surface of your body? 1_3/2_5/2/3_3_5
1972 Your are not limited by your skin. 1_3/2_5
1973 Where are your boundaries? 1_3/2_5/3_1
1974 Your skin is not your spatial boundary. 1_3/2_5/4_1
1975 Are you limited by your skin? 1_3/2_5
1976 Your enveloped somatic being, the wrapping of your skin is pricked by sensations. 1_3/2_5/2/1
1977 What sensations are prickling the wrapping that is your skin? 1_3/2_5/1
1978 Your pores allow your hairs to connect to this electric environment. 1_3/2_5/4_1
1979 How do your pores connect to the electric environment? 1_3/2_5/4_1
1980 The openings of the pores in your skin attach and detach you from this place. 1_3/2_5
1981 How attached or detached are you from this place? 1_3/4_1
1982 Like air in a plastic bag, your skin waves itself away. 1_3/2_5/4_2_2
1983 Can you wave your skin like a plastic bag in the wind? 1_3/2_5/4_2_2
1984 Adapt to the climate and the tensions in this space. 4_3_7/4_1
1985 What is the climate of the tensions in this space? 4_1/4_3_7
1986 Engage with the environment in an explicit composition. 4_1/7_2/5_2
1987 Is your composition explicitly engaging with this environment? 4_1/7_2/5_2
1988 This place is tensed like the snares of an unplayed piano. 4_1/4_3_7/5_3_9
1989 How tense do you experience this place? 4_3_7/4_1
1990 Pitch your melancholy through your dance. 3_3/7
1991 Can you pitch your melancholy through your dancing? 3_3/7
1992 Act on what comes first to your mind. 5_3
1993 What comes first to your mind? 5_3
1994 This environment is mapped out according to your recent memories. 4_1/4_2_1/5_3_3
1995 Do you have recent memories of this environment? 4_1/4_2_1/5_3_3
1996 Let the muscles of your face respond to what your mind is triggering. 2_1_1/5_3/5_2_2
1997 How do the muscles of your face respond to the triggers from your mind? 2_1_1/5_2_2
1998 Open up your relation to any direction by pointing at it. 3_3/4_3_5/3_3_5/5
1999 Are you pointing to clarify your relations to the outside? 3_3/5
2000 Respond to your future by changing your frontality. 3_3_1/4_2_4/5_2_2
2001 Is your next step to the front? 3_3_1/4_2_2
2002 The past of your dance is always nearby. 4_2_4/3_3/4_1/7
2003 How close and nearby are the past of your dance? 4_3_6/3_3/4_2_4/4_1/7
2004 Respond to what is behind your body. 3_3_2/2/5_2_2
2005 When do you respond to what is behind your body? 3_3_2/2/5_2_2/4_2
2006 Create clearness in what experiences are dance specific. 4_3_4/7
2007 What parts of your dance are you experiencing most on this moment? 4_2_1/7
2008 Process the experiences of your dancing through your movement trajectory. 3_2/3_3/7
2009 Have you processed your last experience? 4_2_2
2010 Reach to what you have been performing. 3_1/7_3
2011 Can you grasp what you have been performing? 3_1/7_3
2012 Approach your composition in an uneasy way. 7_2
2013 Is there an easier way to approach your composition? 4_1/7_2
2014 Increase the performativity of your dance. 3_1/7/7_3
2015 How performative is your dance? 3_1/7_3/7
2016 Charge your composition with the air that circulates inside this place. 2_4/2_1_1/3_3/4_1/7_2
2017 How much air is circulating inside your composition? 2_4/2_1_1/3_3/7_2
2018 Do not deal with specific objects or bodies, stay with a vague somatic exchange. 2/4_3_3
2019 Are you dealing with precision or with vagueness in your movements? 3_2/4_3_3/4_3_4
2020 Lay your body bare in its possibilities without refraining from it. 2
2021 Are you refraining from laying your body bare? 2
2022 There is only dust and smoke where dances come from. 3_1/4_1/7
2023 Where does your dance come from? 3_1/7
2024 Tune your dance instrument by focusing on small movements. 3_2/4_3_1/7
2025 How are your small movements tuning your body? 3_2/2/4_3_1
2026 Adjust how you are feeling by opening up to your sounds. 1_2/3_3_5/1_3
2027 How can you adjust more to the sounds you are making? 1_2
2028 The feeling of your composition is more than how you feel. 1_3/7_2/5_3_1
2029 How are you feeling? 1_3/5_3_1
2030 Open your relationships with your dancing. 4_3_5/7/5
2031 Is your relationship with your dance open or closed? 4_3_5/4_3_6/5/7
2032 Do not let your dance question you, invest in an open dialogue. 4_3_5/7
2033 Is your dance questioning you? 7
2034 Pose your questions to this space. 4_1
2035 What are your questions to this space? 4_1
2036 Your composition is an intruder that never waits, not even for an unexpected guest. 4_3_8/4_3_7/7_2
2037 Can you make your composition more intrusive? 4_3_8/7_2
2038 Host by ghosting. 8
2039 Are you hosting or ghosting your dance? 7
2040 Feel the tenderness of the air caressing the hairs on the surface of your skin. 2_5/4_3_1/1_3/4_2_2
2041 How tender is the air caressing the hairs on the surface of your body? 2_5/2/4_3_1/4_2_2
2042 Resist the fluid character of your movements. 2_3/3_2
2043 Can you resist the fluid character of your movements? 2_3/3_2
2044 Call out and be called upon. 3_3_5
2045 What is your movement calling to you? 3_2
2046 Move outwards, be moved, move towards. 3_2/3_3
2047 Are you moving towards the outside or being moved by the outside? 3_2/3_3
2048 The repetition of your stillness does not become less physical. 1_2/4_2_2/4_2
2049 How physical is the repetition of your stillness? 1_2/4_2_2/4_2
2050 Let the dance come as it leaves your body. 7/2/
2051 When is the dance leaving your body and becoming into this space? 2/4_1/7/4_2
2052 A special force is taking over this place. 4_1/4_3/4_1_2
2053 What forces are you feeling in this place? 4_3/4_1/1_3/4_1_2
2054 This place becomes transparent. 4_1
2055 How transparent can this place become through your dancing? 4_1/3_3/7
2056 Suggest the thing that your body relates to. 2/5_1
2057 Are you relating to anything? 5_1
2058 Gradually transform your relations. 4_3_7/3_1/5
2059 How can you gradually transform your relations? 4_3_7/3_1/5
2060 Your body is making a comment. 2
2061 What comments is your body making? 2
2062 Your movement phrase is not a sentence, dance is only punctuation. 3_2/7_1/7
2063 Where are the punctuations in your dance phrases? 3_1/7/7_1
2064 Meditate in the flux of composing. 7_2
2065 Can you find a moment of tranquility in the flux of your composition? 4_2_1/7_2
2066 Your movements are drawn from a void of confinement. 3_2/4_3_6
2067 How confined are your series of movements? 3_2/4_3_6
2068 The soundwaves are turning into a tsunami. 1_2
2069 How strong can you make the waves of your movements? 3_2/4_3_2
2070 Develop what is behind your body. 3_3_2/2/5_2_2
2071 How is what is behind your body developing? 3_3_2/2/5_2_2
2072 Offer what is in front of your body. 3_3_1/2
2073 What are you offering to what is in front of your body? 3_3_1/2
2074 Envelop the front of your body into the multitude of future options. 3_3_1/3_3/4_2_4
2075 Towards which direction is the front of your body? 3_3_1/3_3/2
2076 Feed yourself with impressions, so you can make clear gestures towards the future. 4_3_4/3_1/4_2_4/3_3
2077 How much impressions are you feeding yourself? 8
2078 Clarify your gestures. 3_1
2079 Are your gestures clear? 3_1/4_3_4
2080 Envelop and develop yourself at the same time. 4_2/5_2_2
2081 Can you envelop and develop yourself at the same time? 4_2/5_2_2
2082 Every part of your performance is offering something to this environment. 4_1/3_1/7_3
2083 What is your performance offering to this environment? 4_1/3_1/7_3
2084 Your dance is an invitation to unfold gratitude and joy. 3_3/7
2085 What joy or gratitude is unfolding through your dancing? 3_3/7
2086 Meet yourself and other inside physics. 3_3/4
2087 How many times can you meet yourself? 4_2
2088 The physics in this place do not have to limit you. 4/4_1
2089 Are you limited by the physics in this space? 4/4_1
2090 Make your standing still up to your dance. 3_3_5/4_2/7
2091 Can you make it up to your dance? 3_3_5/7
2092 There is a grandiose focus on what is about to come. 4_1/5_3_2
2093 How would you like to change your focus? 5_2_4/5_3_2
2094 Timing is always in the play. 4_2/5_3_9
2095 When does timing come into the play of your composition? 4_2/7_2/5_3_9
2096 Resist the seduction of a mechanical repetition. 4_2_2
2097 Are you resisting a mechanical movement? 3_2
2098 Show how flexible your emotions are. 3_2/5_3_1
2099 How flexible is your emotional interpretation? 3_2/5_3_1