Malki's Enquiry

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With Malki who is blind there is this slow affinity like bleeding and absorbing into forms and objects. This is because there is no distance of aperception where one collates different viewpoints with the occular eye and scratches them together into three-dimesional wholeness. Rather that wholeness is given from the first encounter; lent into and tested for give, bounce, collapse that is only ever known according to discrete involvements that build up in the layers of volume as ones body impacts against another volume. It is a practice of resonance or chiming together whilst pulling back in disonance at the same time- like a push-me-pull-you set of running tensions and give-way points that pulsate in the object, in the body, through various sets of accomodations and counter intuitive reversals. There is a definite withdrawal, yes, but also a familiarity that is durational- about resting in the embrace of this all-encompasing enfoldment and then leaning  in more or less, breathing in and out more or less andconstricting/expanding more or less. These are not absolutes- not polar opposites but are the pump of enquiry that is in the girl and the objects that she sets in motion as they set her in motion in the inward and outward enfoldment and through their morphed involvement.

This manner of enquiry gives to Malki an attitude of softness that is like a pervading forwarding through tiny manoevres of shufflement and re-organisation. Gradual almost imperceptable intensifications of pressure and than sudden distilations at various interfaces- opens up a depth that is no more dealing at the contour of surface visual outlines but in the the actual fibre and knit of the object and body as it plays with coherance and unravelling- a constant wind-unwind in which air and object permeate. It's the intervals between the knitted texture that is being performed- not their movement in space as discrete objects surrounded by absenses but in the way they are drummed, flicked and burrowed into in a gradual softening and hardening that is known as ease.

Malki is now sophisticated enough in her navigation as a 9 year old girl that she does not need to use just her hands outstretched before her as she crawls over the floor surface to bang and tap out the existance of what lies before her. This may indeed be an initial rough guide- but then she hones in on these depths- moves into their inner labrynth - refines her testing by easing her body around the hard cushions, the carpettd swing, the drum lying on its side. She is lingering longer- residing in the affectivity of these surfaces that are now acting  through their very own withdrawal, into volumes thta also meet her withdrawal. These are volummes that her body synchronises with and so she takes a ride tummy down on the swing, than flips off at a certain speed using the volition  and spin of this abrupt speed cauterization to fall on to her knees, then lean back intot he L shaped cushion that she had tapped into existance earlier in her initial rough draught. She enfolds back into its negative shape, then lets her body pour over the right-angle extension and simply adds one degree at a time, increasing pressure in her tipping fall that acts not like pressure at all but more like an intensified presencing that jams together running out all sense of seperation until at a very precise moment the cataclysmic buckling of the cushion fibre sqaushes in upon itself and she falls into the folds of its own collapse. This altered shape is only known, felt, experienced because her body takes a ride into the moment where the volume resistence gives way and her body too gives way into this partial collapse.Her practice is to be able to work the moment of that collapse and so stay completely present and alert within this shift.

So Malki is learning to take a ride into the depths of a volume's undoing. This is never just the decimation or resistance of an object but is always necessarily twinned with her own body decimation and resistance.

Movement and rest is composed through  this kind of slow motion embrace into the pulverisation of forms.
Malki smiles at these moments of optimal coherance thresholds that then give way in tthe impossible resistance and torsion of a stretched or provoked encounter, that  then suddenly, dramatically buckles. This is the event- Similar to the quantuum idea of an Event Horizen where - as if going over the brink of a waterfall, one reaches the point of no-return. All the laws and norms alter in this area of pulverised meshing.

There is another practice that Malki is mastering- related to this waterful analogy. She is learning a technique of jetting out very fine vapours of spit between the gaps in her teeth that she then catches on her fingers as if it were an alien substance- not of her at all. In a sense this is correct for she has mastered a way of transforming her inside spit into this fine spun web that almost lingers in the air, suspended and hovering until she discovers it anew as if for the first time.