Abstract

This thesis is aimed at people who want to understand how art and collations of form feels borderless and feels twallowings* as a family of sensing and languaging. The typical thesis is the language of persons who have lots of ability to talk versus those of us who are like quiet rivers that become oceans of depth,and that is like the way I see myself so this thesis manages to vary the stream of tics and stalls (catatonia) and the man of autism is making meaning through pacing that is fast and slow and dances with the open flows of atmospheric movements.

This work shows how collaboration happens (see Appendix) and how, as an autistic non-speaking person who needs assistance to write, I need the facilitation and a poetics of the relation that goes the way of techniques and not methods. Édouard Glissant calls a poetics of relation a movement; a more-than-human relation as my body feels the atmospheres that also cue movements, impulses, ticcing, anxiety, calm. This is what I call “languaging” – an expression that exceeds words, so I have chosen a non-narrative film-making process, using tools accessible to me for a more immersive, sensory experience that I call What If My Body is a Beacon for the World: sensing with neurodiversity. What can we learn from a collaboration that not only rallies with readings, discussion, and also a “body-borrowing” that uses other hands to create? My work and life depend on collaboration and experimentation in processes that support me. Another key question: How do new grammars of neurodiverse languaging and relational pacing reconsider the spacetimes that are different from dominant perception?

*pace and movement of the stick I shake and wave making the navigations twallow are managing the way of detail.