going beyond the initial impetus of external material to allow – not the superficial representation of natural functions & dynamics – but a deep patterning of its ‘manner of operation’ (c.f. Cage)

composting of material, sinking it deep, allowing it to be the nutrition from which the piece grows, not simply ideas that the piece illustrates

an organic process of real evolution – complete with dead ends, false starts, extreme mutations, but at core comprising the growth of an ecosystem where each part is interdependent & interrelated, as are the protagonists

the necessity for there to be time for this to occur, especially in a group where many are working together for the first time – but the use of the process to provide a space/environment for the development of connexions between people (a natural patterning), the growth of these relationships is as key to the work as the trying, exploring, researching, sharing, adopting, discarding of the ‘surface’ process itself, & forms a crucial aspect of the final work – both in terms of the aesthetic & content of the work & its performative realisation

creation & developing of community through activity (c.f. Scalapino)

sharing of disciplines – musicians become dancers, dancers become musicians, permeations

through shared processes (class, sacrum dancing, research practice, etc

thinking of sound not ‘music’ (tho sound ‘is’ also [in any case] music – c.f. Cage), but ‘music’ in dance context raising certain expectations, ‘sound’ allowing more freedom & scope to find correct fit with the movement – the movement sounds, the sound moves