I wanted to do something specific in the space. I wanted to create something, document something and finding tools. I worked inside the yellow cocoon again, because it is not everyday you can be in a yellow space of concrete where even the curtains are yellow and round as well. I played with the eyes in the ceiling and the rods with hooks on each end.


The rods in steel are 60 cm long and the rods in plastic are half the size. The plastic ones are in green, pink and black. First I tried to put all of them, 14 in steel and 14 in plastic, inside the yellow room in some kind of construction, hanging them up in the six eyes in the ceiling. Then after some consultation I hung only the steel ones inside the cocoon. This gave some more space and acoustic. I could see more clearly how they infected each other and the space. I tried to be outside the cocoon while I build and changed the rods and the space. The choreography was simply to test the possibilities in making connections, breaking and making new connections.  Paying attention to the sound the rods made when they hit each other, or when they fell apart and hit the floor. Paying attention to what shape they made; clusters, triangle, square. To see and change them from different angles and see if only changing one rod could infect all the others, set them in motion, or make them swing. I love when they can swing like a hammock construction, and to see how this work gave me something to attend to, paying less attention to everything else quite disturbing in being a body.

Thread of coat hangers

Then I made one long connections with the plastic roods stretching from the cocoon to the other rooms. It was funny to test these possibilities and to feel I had to take some risks where the thread of rods could easily fall apart. The last time I ended up with too few roods, but luckily I found some coat hangers to fasten the thread of rods into the bathroom.

Amanda gave me this great sentence: Awareness – attention- action.

I take with me these tools from this day: analysing my own awareness through the glossary of Arakawa and Gins. Naming my attention, understanding more of what I do/ want to do through naming or recognising it as an immediate or imaginary landing site. Understanding how to work with the dimentional site where my attention comes into action.

Being, changing, living

Yesterday I spent two and a half hour on my own in the space. I now try to create language for the experience and link it up to the on-going process of using Arakawa and Gins vocabulary. The space we live in, Kehai Coordinating Unit were my landing site, and inside new landing sites developed. (Landing site: where my attention is drawn)

Arakawa and Gins speak about three different layers in understanding the landing sites: immediately perceived sites, imaginary sites and dimentional sites. Can I use this vocabulary to analyze my experience yesterday in retrospective? Is it possible to say that the immediate site is linked to the question what did you do, that the imaginary site is linked to how did you think/ project/ perceive what you did and can the ‘why did you do that’ be linked to ‘dimensionalising site’?

What did I do? I worked intuitively in the space for two and a half hours, not putting restrictions to where, how long and what to do/ produce. I wanted to investigate being; investigating the immediate interests in the space and at the same time knowing that to find and make new tools for choreography is the headliner for our stay here. In memory of Helen Keller I wanted to work spontaneously.

What became my landing sites? I started in the open room with the bamboo mat, stretching, moving, seeing, I had an idea that I wanted to move. I climbed up and sat and laid in the hammock under the ceiling, finding new places for it and I found some grapes that where hanging from one of the eyes. I spent time inside the yellow cocoon, receiving support at different parts of my body, finding the hooks at the end of rods and making new connections, I moved this outside in the big space. I read and organised the 32 instruction cards from Arakawa and Gins for inhabiting the lofts and then I understood that I had too little time.



Why? Tuesday evening we say the documentary  “Children who won´t die”, a documentary of the work of Arakawa and Gins made by a filmmaker who lived in the Redestiny Lofts in four years with his family.

To live and work in these spaces has been very inspiring in many different ways. The space doesn´t need me to exist. I am not sure if I am the one choosing landing sites or if it is the way the space is constructed that gives my attention direction.

In august I saw the performance “You” of Lisa Østberg and Kim Hiortøy at Black Box Theatre in Oslo. To be here reminds me of the performance and I can try to sum it up in the senctence: To play is existential.

When I am in the spaces I often try to excuse my being and amusement with: now I´m not using or producing anything. To not produce more than being can be ambivalent to me. But as long as I am not using anything either, it feels more okay.

The space serves me possibilities for changing them and creating new possibilities of existing. This is not easy to write but I feel alive and at the same time “landed” here.

How? There is a tendency of thinking that easy makes you happy, to not make an effort makes you happy. To be here brings me into being- an active state of recognising that I am alive. The house serves a sense that thinking, building, changing, perceiving through my body is important. I can transform. I can be four years old. I can climb. I can receive support different parts under my feet, back, neck, hands at the same time. The spaces receives me differently than the flat floor, right angle walls and chairs I amused to. To move makes you alive- I think. This place forces the body and the mind into moving. Things aren´t as they seem to be or as you used to.


This place forces intelligence, whole hearted, body and mind. I need less sleep here. I feel vital. I am 30 min outside the city center of Tokyo (!), we spend a lot of time her but I still want to stay. There is so much to attend to. The small doors – imagining that I am Alice in Wonderland. The hooks and ropes that I can move around in the “eyes” of the ceiling. I can be the mountain climber, the monk, the monkey, the philosopher, researcher, architect, stage designer, composer, blind and deaf, the human.

What is a tool?

Now I want to divorce with formats for performance and performativity. The expanding choreography; about how we live and interact is feeling much more important and relevant that to make an other show. I want to build instruments that you can´t play without moving through-, and infecting the space around you and I want to change, and be changed in places like this.



Following the guidelines of Reversible Destiny Lofts MITAKA

How are you choreographed?

How can I approach sensing the space without putting it in a certain time or shape.

The body is easily reduced.

Outside, trying to listen three-dimensionally I remember that I understand the sounds as a composition.

Inside the roughness of the floor under my feet is an opener to a world of sensing and creating sense. The meaning arises from the experience. I cannot move without reflecting on how I am choreographed, how the space guides me and how memory at the same time awaken a certain choreography. I am longing to set myself loose from judging movement and phases. I am very sensitive to my self-judgement and I keep coming back to how stupid society can make the body, the image of the body and how easy it is to be ironic instead of being. The aestethtics of being is complicated to enter without identifying it and feeling the fear. I try to move beyond fear and from addressing and identifying movement to experiencing the movement in itself.

I forgot that I could have been 100 or 4, but subconsciously I sometimes enter being four and sometimes I have the same compassion for myself inside my sensing body as I can have for an old person; a body that is full of experience. I notice when my body directly can approach its surroundings and move through space as a known landscape.

I can differ from when I identify the space as I remember to have seen it and when I remember it first – when I am there.

The architecture serves my body. The curve serves differently than the right angle wall, underneath my feet there is rough stones, bamboo mats, concrete.

I remember that when I met a pole there was something familiar, and then our previous talking of Miley Cirus sexual pole dancing and licking made my approach of the pole suddenly unfamiliar and bizarre.  When the instructions some time later reminded me of poles as trees I could again approach and let myself be touched by the pole without being culturally embarrassed by my behaviour.

The movement from the body differs from when ‘I’ do ; when I feel they are performed and when they are playfully alive and awake responds to ”each passing moment”, responding to the situation the environment serves me. When my body recognises a choreographic situation I am caught by the comtemporary discource of reducing and being ironic to the sensing body. The protest against the aesthetics of release and improvisational work in the body sometimes force on the body that it shouldn’t sense.

Is there a time for taking the body back again, and not needing to be responsible of the aesthetics it is producing. The image doesn´t give an imaginary experience. This text is already reducing the capacity of the body. There is still a struggle for language, but I will use every language I have available to understand and to be understood.

To allow rest.

To see with the eyes closed, how the light changes.

To see with my eyes open the meaning of using colours and contrast.

To be silent to Helen Keller.

To use silence without being afraid of making a statement through sounds.

To name something ‘Susan’ and then later The Museum of Unconditional Surrender; to remember that it is a subtitle of one of my favorite books which I never finish. And which I read in different cities, always starting from the beginning. To recognise that I am no longer writing to myself but to someone else. To you. To feel a bit embarrassed of the unwilling poetic, and therefor maybe cliché in the past sentence.

To resist making fool of the body

To feel that an on-going lifelong theme/ work/ project is arising. The choreographed body as not different from the architectural body and not different from the life choreographed. How does/did life choreograph you? How to investigate this with a deep compassion, an ease and not being afraid of sensing my whole body as once? Not being afraid of making form and appear foolish. Not being afraid of aesthetics that doesn’t feel cool. Not being afraid of identifying a movement or a response as authentic within its frame, situation and circumstance. Saying farewell to non-sensing, saying farewell to irony, saying farewell to coolness, welcoming  unconditional surrender.