first we have the gaze ( but it's a camera)

“… What is the use of remembering? Live Now! Live now! But my only reason for remembering is to live now.Increase of what is worth knowing, decrease of the capacity to absorb it, every day he gains a drop less, more and more drips past him drain off, not into him; how he yearns for all the things he would have liked to know…”

Not the fucker /But hon /cuckooing slow / ear test //
New ström to avalan /Cain slow hand to life /Stir whisk soul, / small parts //
Cale divorce /Ear part neglect / Tape chestover package / pack //
Mere phants / vorce the metal tie /Kick vi and marry in / Tie off-casual
Mare is me mareism / and daydream queue heavy / / Sweet me in the moon
Elias C.’s reflections and Outi-Illuulisia P’s poem, contrasted with Sam R.’s visual follow –up from space and composition.

The third gaze (applied)

“… On the level of the Real, movement can be conceived as jouissance: as that which is more than sense, that which exhausts meaning in movement. Because it will always be more than meaningful and readable, one can enjoy the moving body…”

Sam R. applying the third gaze, while Dr. Siegmund upholds the symbolic scepter, centering the ongoing performative procession; As viewer, you unwillingly add another layer… enter somewhere on the image or here to gaze. See also the previous post for more info. And, remember: take a look in the archives...

the theatricality of the performative gaze

“…The dancers simultaneously undergo a relationship with their body as Other, with the crowd that watches, and with the Other as a set of symbolic codes and rules inscribed in the Amalienborg situation. This interpellation asks him or her to fulfill a function, to assume a role as dancer during the time spent on the Square…”

A panoramic surveillance-camera scoop of Space and Composition workshop 4 participants, lead by Dr. G. Siegmund, at the Royal Amalienborg Square in Copenhagen. Registered by Sam R., while Kassandra W. rigidly closed the gaze-axis gap with her Camcorder. Click on the image, or enter the Amalienborg square here

the beginning is always an open, curved bend

When all the archetypes burst out shamelessly, we plumb the depths of Homeric profundity. Two clichés make us laugh but a hundred clichés moves us because we sense dimly that the clichés are talking among themselves, celebrating a reunion.... Just as the extreme of pain meets sensual pleasure, and the extreme of perversion borders on mystical energy, so too the extreme of banality allows us to catch a glimpse of the Sublime.
A) The beginning is always an open, curved bend, a sort of emergency situation, B) In the core, only love resides,C) The conclusion is an opinion formed after considering the relevant facts, or, the formal part that brings something to a close..”
 
A genuine Sam R. ’Pat(h)atical, almost a still (in Danish). Enter here or plunge into the icon.