On phenomenological wesensschau in voodles

" For example, if we are seeking to form an idea of, or to understand the essence of, a spatial figure, such as this voodle, we must first perceive it. Then we will imagine all the possible aspects contained in this figure as changed. That which cannot be varied without the object itself disappearing is the essence. Suppose that we wish to form the idea of melody. We recall a tune which we have learned to sing, and suppose that all the notes and all the relations between the notes are changed. That which remains invariable and without which there would be no more melody is the essence we are seeking. In the same way, if we are trying to conceive the the essence of a "social process", we will represent to our selves a social process in which we have participated or concerning which we have some historical understanding. That which does not vary through all conceivable variations will be the essence. Even when one thinks in terms of of the pure essence, one always thinks of the visible - the fact. But in the case of Wesenschau, the individual fact is neither grasped nor assumed as a reality, which is shown by the fact that we subject it to an imaginary variation."

Further dwelling in the intricacies of phenomenology, Sam Renseiw subjected a recorded moment of etude exercise to imaginary variation(s), thus introducing both a tune and the reverberations of a social process. View the overloaded footage by clicking here or on the links above. (patafilm # 729, 01'40'' 22,2MB, Quicktime/mov - other versions at Blip.tv) click here for archive.org version

Today's Bonus Lumiere Video features almost a minute of full frontal, backwards projection complete with cameo appearance by Sam. (Lum # 231, "shadow dance", 01'00, 12.8MB, Quicktime/mov)

On witnessing and tracing with the eye

click for: Quicktime version / Flash version

"Dancers, choreographers, writers and dance voodlers spend a lot of time looking, witnessing, tracing with their eyes, mapping with their gear. They are constantly taking in and trying out. Rehearsing. Making new space in their bodies for the writing down of performance. This act, in the words of Julia Kristeva is an “ordeal.”

Yet, the simple act of witnessing basic choreographic moves, casually framed, opens up confined spaces with their own liberating re-imaginations, muses Sam Renseiw. View the short quasi pataphysical footage by clicking here or on the links above. (patafilm # 405, 01'30'', 6.6 MB, Quicktime/mov - Flash version at blip.tv)

To engage successfully in embodied cognition

" Philosophically, Plotinus argued that postulating Forms without a superordinate principle, the One, which is virtually what all the Forms are, would leave the Forms in eternal disunity. If this were the case, then there could be no necessary truth, for all necessary truths, e.g., 3 + 5 = 8, express a virtual identity, as indicated here by the ‘=’ sign. Consider the analogy of three-dimensionality and solidity. Why are these necessarily connected in a body such that there could not be a body that had one without the other? The answer is that body is virtually three-dimensionality and virtually solidity. Both three-dimensionality and solidity express in different ways what a body is."

Another Renseiw flicker: an ephemeral translation of a recent choreographic bout, with soundtrack by Casper C. Enter here or click on the luminosity above.