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All hail Randolph, >And texture: walking incredibly slowly in >bare feet and noticing every sensation. When doing any of these exercises, >I would avoid having any desire to come out of it bearing a hot little poem >in my hand. Rather the idea is to open out in general, to enjoy doing >nothing, to notice the . . . yes yes. It's in the DOING and the paying of attention (so much a more humane currency). The 'noticing' as you rightly term it. One of the 'reading' aloud issues which impacts onto the body is seemingly involuntary gesture which in fact arises directly from the voicings. Allen Fisher explored this through a 'community' paper under the title 'Speech Poetry' some years ago - in the course of which i remember one spur to dialogue and one idea that surfaced being that of the dicrotic pulse. One poet in these isles who has gone deeper into ideas around pulse and energy states than most is the scandoulously under circulated Ulli Freer to whose work i would commend everyone 'heartily'. I found Tai Chi and variants useful to start with on perceptions concerning those spaces immediately around the body and had curious discussions with people involved in astronaut training programs on the 'nature' of 'skin' and that it is not the paramter of one's body. I would agree on moving slowly, backwards is perhps most intriguing (a different sense of camera zoom). Release techniques of imaging and Contact Improvisation jamming yield differing engagements with language and the desire to speak. Sorry, i've just got to rush and catch a train.. hence the midday ramble with a huge amount more piling up to be said. Will have to wait until tomorrow evening. bye love and love cris %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%