Yuk Hui, Art and Cosmotechnics<\/p>\n\n\n\n
![\"\"](\"https:\/\/www.nerding.at\/scores_for_unknowing\/wp-content\/uploads\/2025\/06\/auto_choreography-Visarga-1024x794.jpg\")
<\/figure>\n\n\n\n\n\n\n\n
What can a score be? <\/p>\n\n\n\n
We can spatialize the sound into an installation as a yantra: yantras are also used in the architectural organisation of temples.
Scores can be material spaces that allow (cognitive) rest.
Objects as scores: couch, cushion, buoy, blanket, soft scores.
Materials as scores: powders, yarn, glycerine, honey, plaster, turmeric, pigment.
Even the containers for the powders can be \u2018scores\u2019, as in votive objects that require a way of handling, like the sup in the tea ceremony or the chalice in the Eucharist.
We imagine creating textile scores, inspired by Andean quipu and Lenore Tawney; perhaps this is the next stage of the work. <\/p>\n\n\n\n
All the elements of the scene are votive objects that enable and support the ritual.<\/p>\n\n\n\n
\n\n\n\n
Mika asked me about the Butoh-Fu choreographic process. By the 70s, Hijikata had decided he would be the \u2018master\u2019. This meant he no longer allowed his students to improvise. He used a sensorial choreography that he uttered directly at the bodies of his dancers. He wanted to trigger reactions in their nervous system – something deep in the material memory of the body.<\/p>\n\n\n\n
The language of Hijikata\u2019s Butoh-Fu was recorded by some of his students, notably Yukio Waguri an Moe Yamamoto, both of whom I worked with in Japan between 2012 and 2015. Waguri\u2019s transcriptions can be found here:<\/p>\n\n\n\n