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Can art be challenging and also a good time? Can it teach us something about loving self-acceptance? I believe Ashley’s work can. She says to me:

I am interested in creating democratic access to my work by utilizing a deliberately egalitarian and generous collection of humorous, visceral, and empathetic connections between the viewer and the object (bounce houses, cartoons, bright color, forms that people want to hug), and formal entry points for multiple communities to engage with the work (desire to make a seriously beautiful surface through abstract painting and an intriguingly complex form through monumental sculpture).

Life system and dance/movement

I'm always concerned with how the way I'm dancing connects with the rest of my life system. But I find that when I look to see what is that system by which I survive, the question boggles my mind. With the animals in the zoo I have at least the illusion of understanding the limits and nature of the life system in which they find themselves. An animal walking in a cage is a different thing than an animal walking in the grassland. And yet it's not.

Simone Forti, Dancing at the fence

Crooked Path, Jeff Wall

Dancing is full body vulnerability.

Brene Brown

Movement and play

Movement is primal and accompanies all the element of play we are examining, even word or image movement in imaginative play. If you don't understand and appreciate human movement, you won't really understand yourself or play. Learning about self-movement creates a structure for an individuals knowledge of the world - it is a way of knowing. Through movement play we think in motion. Movement structrues our knowledge of the world, space and time som completly that we need to take a step back (a movement metaphor) to realize how much we think in these terms. Our knowledge of the physical world, based in movement, explains why we describe emotions in terms like "close", "distant", "open", "closed". We say we "grasp" ideas, or "wrestle" with them, or "stumble" upon them.

Stuar Brown, Play ( p. 84)

...unconcious movements, determined by intentions and necessities (like waving, how pople touch each other, the handling of machines etc.) ... I was not so much concerned wtih the conciois poses, but rahter with the involunatry and uconcious.

Marianne Wex, Lets take back our space

I want to thank my inspirations: Federico Fellini, the talking Heads, Martin Scorsese and… Armando Maradona!

Director Paolo Sorrentino had to thank the Argentinian football player, who led his team Napoli, in his acceptance speech last night at the 86th Academy Awards ceremony.

Indre bevegelser

"... it appears that what Lao-tzu believed in most was the virtue of "naturalness" or "spontaneity"."

"The point is that Lao-tzu esteemed other virtues but only if they arise form the higer one of sponateity."

Character strengths and virtues: A Handbook and Classification. Peterson, Seligman.

Learned helplessness

Håp

"Like most people, I always thought of hope as an emotion-like a warm feeling of optimism and possibility. I was wrong. I was shocked to discover that hope is not an emotion; it's a way of thinking or a cognitive process. Emotions play a supporting role, but hope is really a thought process made up of what Snyder calls a trilogy of goals, pathways, and agency."

Brene Brown

http://www.bhevolution.org/public/cultivating_hope.page

Turbulent, Shirin Neshat

The myth of progress, Klara LIdén

#utfoldelse #innestengt rom #lek #sårbarhet

#spisegråstein #askeladdensgodehjelpere #ivocaprino

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