WEBVTT

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So what I thought
we would do is start

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with instead of the
usual introductions,

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I asked our presenters some
questions about their bodies.

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And so that's how I'm
going to introduce them.

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This is Don.

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This is what she likes to
eat for lunch, iced tea.

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Her legs are warped, the
condition of her heart

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is expandable and malleable.

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[LAUGHTER]

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Looked like putty.

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Duriel likes to eat for lunch
something raw foods, arugula

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salad preferably.

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Her legs are muscular
and friendly.

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This word is part of her
gratitude is less possibility.

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I love how writers can't
just choose one word.

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We got Doug Kearney.

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He's going to present
next in the lineup today.

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What he likes for lunch, things
wrapped in tortillas or pittas.

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If it's pittas, he
wants fries on the side.

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Totally with you.

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When you must energized,
this was the question.

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He says this will
sound sad but when

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I'm in front of people,
that's not sad to me.

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It's a very LA thing.

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I'm only alive now
in front of you all.

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And he is a werewolf
and a family man.

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Once again, cannot
choose one word.

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KJ over here.

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Likes khichdi for lunch.

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Khichdi

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Khichdi.

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What's khichdi?

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It's an East Indian stew.

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East Indian stew, I
think I like that too.

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What is the condition
of your heart?

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Her heart is a surprising
fathomless nocturne.

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Hmm-mm.

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Took four words.

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He said her legs
are her best weapon.

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So true as we saw last night.

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Julie Carr, for
lunch, not much, she's

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on the dawn iced tea train.

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When are her feet
most comfortable?

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When touched.

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And what word might be
plastered on her chest?

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Mother.

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Mother.

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Beautiful.

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Ronaldo, let's see.

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He eats nothing for lunch but
I usually want carbs, streams,

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and protein, so matter of fact.

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His legs are long and pointed
as we also saw last night.

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And the condition of
his heart is responsive.

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Beautiful.

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So last but not
least, Julie Patton.

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Likes for lunch, anything
she can wild craft.

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The condition of her
heart is imploded

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and her feet are most
comfortable in water hill.

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Yes, me too.

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Beautiful.

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So what I did was I
sent them some questions

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which not everybody got but I
sent them a lot of questions.

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But probably only going
to have time for five,

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I mean, three of them.

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And then I'd invited
them to use their bodies

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or use language or
respond in any way

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that they feel most appropriate.

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I also have written
the questions

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on my arm just in case
they forgets or later you

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want a question, feel
free to describe my arm

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and we'll do it.

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Also, I just wanted to say
when Annie first told me

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about this panel,
I instantly thought

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and I was wondering what you
might think about this too.

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When I don't have paper and
pen, how does that ever happen?

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But sometimes it
happens, I always

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use my hand on my leg to
write it out and remember it

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that way.

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And my friend,
Christy Maxwell, she

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actually uses the
muscles of her legs.

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She tweaks them
in like a pattern.

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That is fascinating to me.

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But I just thought that
might be an interesting thing

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to think about what you do when
you don't have paper and pen.

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So here's our first
question, and whoever

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wants to get up and speak
first, just give me the icy.

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So where in the body does your
writing begin its habitation?

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[INAUDIBLE] just show us.

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No.

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I don't know.

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I can't show you.

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I actually feel slightly
alienated from my body

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and I feel as if I'm always
trying to re-access it.

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So there seems to be, if I
were to prepare it for writing,

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I would go for a
really long run or lift

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some weights or something
in order to really feel it.

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So I feel as if I'm
constantly struggling

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to connect the writing
to the body in some way.

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There's for me a
disconnect and I'm always

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trying to re-enter that space
or that physical matter.

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Kind of similar.

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I don't feel the alienated
but I feel like I actually

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made a conscious separation
because having been a dancer,

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everything started with, ended
with, was grounded in the body,

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and there was a kind of way that
for me that became oppressive.

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And so when I finally didn't
identify as a dancer anymore,

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it was a huge relief to
not think where in my body

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or what is my body or how
is my body or is my body

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OK then things like that in the
process of making something.

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But as I was thinking to
try to answer the question,

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I thought my jaw.

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That there's a kind of
will in the jaw that

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has to do with desire.

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At least that's
how I experience,

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it has to do with desire,
like a kind of urge energy

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to move forward into
writing and it's like huh.

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And so that seems like
it's here and maybe

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that has to do with
speech and like the desire

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to say something.

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But I was very glad to not
have everything grounded early

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on the pelvis, which is
where it is and dance

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and to actually not
have to be there.

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For me, it's oftentimes the
ear because I'm triggering off

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of things I've heard usually
more often things that I've

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seen.

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I mean, the thing
I've seen might make

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me think about writing a poem.

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But it's not until
a bit of language

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warms its way into my ear
in a really sonic way that

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really drives me to sit down
and try to make something.

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Just to be able to
hear certain words

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clatter together
or certain phrases

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from different reference
points clatter together.

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So for me I think it's largely
the ear which is hard to type

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with.

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I have to disagree with
Julie Carr about dance music

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being naked only in
the belly or the pelvis

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because I think dance comes
from all parts of the body

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and as a dancer
and also a poet, I

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feel like where I have a tape
my writing, is in the space.

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And the space sometimes
is inside my spine

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and I think about the spine as
the connection between my head

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and body because there is
no separation if I look

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at that center line of my body.

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And that as a fluid
quality of my body,

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the spine is where I can access
the idea of reflexive knowledge

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to bringing an idea from
my experience that's

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held a little bit more
contained in my brain.

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But there's always
that connection back

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to the sensation of, what
am I doing with my body?

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I'm breathing, the
physiology of my body.

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And in that, there's
the poetics as well as

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the movement of the body.

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So that's what I would say.

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That's a challenging question
to answer in a straight form

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because I think it
depends on what I'm doing.

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I'll say it's my whole body,
but also it's outside of me

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coming in through everything
at the top of my head.

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My feet in contact
with the Earth

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is a very important
channel for me.

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I feel as much in my feet.

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I don't make a distinction
between hands and feet

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really because I think one
transfers to the other.

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And walking is, for me,
is my religion in a sense.

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And so being in contact,
moving and that sense of line

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and with also feeling, like it's
not about the Earth being flat

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but picking up deeper
roots and the same thing

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goes on this way.

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But I have an obsessive
amount of energy

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in my hands as a result
because it constantly

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coming in contact with
matter and material

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to make the pliability of the
word and plasticity of things

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and grounding energy.

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In order to do what
I do, meditation,

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which can be walking meditation
or any kind of meditation

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has been key for
me since I was 11

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because I don't want so much to
express myself with something

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that's larger or beyond me than
includes me so that it brings

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in other forms of information.

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But in many ways I'm a
sculptor and if people

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come in my dwelling
spaces and they

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are like, why isn't that in an
art exhibit or this and that?

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Because I make sculpture all the
time coming across small things

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and it's almost like my
hands are leading me.

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They just have to feel
and then the language

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comes in relation to that.

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But in the old days, I
used to put on the ground

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large sheets of paper and get
in them and then throw ink.

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And so I don't decide anything.

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And it's just getting still
enough to listen and respond.

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I don't know if
I made any sense.

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You were all about flow.

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I am.

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