Bodyguard, thinkingbody and dancingbody are in a TESLA and talks about Feldenkraïs technique.

• As we're on our way to Mars, I'm not sure on Earth the Feldenkraïs technique had become something popular and well-known.
• So am I ! As everyone try to sell the less he or she knows, things become complicated and some knowledge could be lost.
• What is Feldenkraïs technique ?
• I never study it. I just heard about it, read about it and work with people who had studied it for a while. So what I remember is it's about taking care about the human body and using it efficiently, saving efforts and force by trying to understand its logics and its own way of developpement.[https://feldenkrais-method.org/ http://www.feldenkrais-france.org/?p=1]
• And FELDENKRAÏS is the forename of the inventor of that way. Actually it's more the name that history will remind of a thoughts movement that had affected a lot of people in the same moment on Earth and maybe FELDENKRAÏS was the one who went further and achieve more or less that way...
• Yes, it's all about « i need to build my body without an external model that i try to copy and make my body fit in but i have to find in my body my inner model that i could follow and build. » More or less. That's theory. Pratical learn is about interaction. Feldenkraïs is not a dancing technique. It's about everyday use of its own body. But all of this need to be checked cause i talk from the ruins of my memory...
• In a way, the guys in the french suburb, who had developped a way of moving and running throught buildings that you can see in the second james Bond movie with Daniel CRAIGG, maybe their names are YAMAZAKI, had been in the same approach than FELDENKRAIS, it means « my body could move and do others things that i thought or not thought it can do ».
• Didn't Merce CUNNINGHAM work with an AI ? https://www.universalis.fr/encyclopedie/merce-cunningham/3-a-la-pointe-des-nouvelles-technologies/
• Well, he had developped with informaticians a software, nowadays i guess the term application will be used for that thing called LIFEFORCE but maybe the correct name is LIFEFORM or something else (so it's Life Forms puis Dance Forms, he already used it in the early 90's maybe even in the late 80's if i remember well. It's all about the obsession of CUNNINGHAM of exploring the freedoom of the human body to move. So CUNNINGHAM had been a dancer growned up with classical technics and maybe tapdance technics also, need to be checked, but it means his body and mind couldn't have the same opening to approach movement than a dancer precisly growned up by learning the CUNNINGHAM technics ! http://edaclyon.com/merce-cunningham-technique/ 
• HAHAHAHA !
• So, for what I know, LIFEFORCE or LIFEFORMS or whatever gave to CUNNINGHAM sequence of movements for each part of the dancer (head, arms, legs, torse, bassin, maybe hands and feet but CUNNINGHAM didn't really use hands and feet as a variable) and association of those sequence in a partition and association with the others dancers ' partition.But maybe it was lightly different for that. So It was technically very hard to do ( CEDRIC ANDRIEUX, a former dancer of the CUNNINGHAM company talked about it in a work of Jérôme BEL called « Cédric ANDRIEUX » that i didn't see except extracts on YouTube), The virtuosity of those dances was the key to reach the abstraction that CUNNINGHAM wanting to be perceived, He compared the dancing bodies on stage to the metal in fusion in the « haut fourneau de la sidérurgie »... But it's an hard thing to free in the same time the body of the dancers, the mind of the dancers and of the viewers and also all the structure of the theaters ! I saw OCEAN in Monptellier in the late 90's, i guess CUNNINGHAM wanting to be able to recreate sea, waves and water with minds and movements of bodies and sounds. Those kind of works would need to be recreated or remixed ! They're really avant-garde ! They're like « the Sacre du Printemps », i mean Pierre BOULEZ as a chef d'orchestre makes « le Sacre du printemps », composed (it means written) by STRAVINSKY, a beautiful music that everyone can hear and be touched by the beauty ... but for what i know, before Pierre BOULEZ, the orchestras could'nt reach in theirs interpretations the music of the partition of STRAVINSKY, it was just noise !
• What do you mean ?
• Well, it's an hard thing to make things you've got in mind happened in the real as you've got it in mind ( or as you perceived it in the mist of your mind) cause you have to deal with all the already existing real and also with the human structure and people that are mostly not working for themselves but for others that abuse them, and plenty of other boring things, blablabla … So it's an huge work to move frontiers, if what you've got in mind reorganizing completly a point of view and/or organisation of body and mind … you have to be patient, you have to be strong enough to go on and follow your idea... I think CUNNINGHAM' works on stage had not been yet understood.
• So it's the same thing if you try to develop an industrial point of view that caring people who work in it whatever their rank in the production, especially when you do it in a mondial context where the morbid and cynical developpements of the industrial point of view had reached its climax … well, hope it can't go further than the military FOXCON organisation in the 2000 years or the BENGLADESH workers sewing luxury clothes for peanuts in no-secure buildings or, blabla...
• Well, I guess, it's more dangerous in industry cause there's a lot of money in the game, some people can understand you're doing a good thing and could try to « kill » you in order to have that successfull thing under their name ... Dance is not also an industry, even in Broadway...
• Well, Martha GRAHAM tried to « kill » CUNNINGHAM several times …
• That's true !
• Are you sure we're going to Mars ? it seems to me, we're still on Earth.
• Great, we could have a coffee, then !

(to be continued).