Re: a question 4 u

jane curwood (
Sun, 20 Apr 1997 19:55:02 -0400

>When the body is a video projection, fixed in space, the eyes and head of
>the audience must also remain fixed or they will miss something in the
>projection. In the traditional performance, the audience is forced (if they
>want to see) to join in the dance as the performer's movements across the
>stage dictate the movement of their head and eyes. Perhaps, as an audience
>member, these tiny movements subconsciously contribute to the feeling of
>liveness and the existance of space.

I used to dream of a museum made of white plastic walls floors and ceiling.
when you entered you stepped onto a soundless slow moving ramp which
depostited you in front of each work and left you alone in stillness untill
you had finished and were ready to move on.
I like to watch movement in stillness, also, in order to forget my own body
and enter the movement.

Scott said
"I am slightly bothered by the sense of un-inhabitation on the net. What
happens when the net becomes primarily an archive of past or imagined
interactivity? Currently, all the metaphors point towards an ongoing lived
in space... and indeed the goal of this discussion list is to give such a
sense of community, of involvement, dialogue, etc. But, even as Andrea
launches a new project to utilize the net in this way -- I feel something is
dying... is it an accumulation of the energy of the non-present -- that what
we all imagine to be the presence of our distributed selves and of our
networked and multiple identities, in the end turns out to be... ?"

This reminds me of that wonderful moment in the second act of giselle when
albrecht feels her presence but his 'living senses' can't quite get around
the problem. If given the opportunity' I always touch and smell something
in a very primitive act of validating its 'realness'and of knowing it. The
question is how far can we stretch.
I am interested in the simplest of movements. I strongly object to the
idea "that in the best dances, you didn't know where to look"(Mark's
choreographer) - the inference being that there was so much interesting
stuff happening you had to make a choice what you would view from moment to
moment.(Mark) The best dances in my opinion are not spectator sports, but
exercises in body snatching. If you are bouncing around from one incomplete
movement to another you just end up emotionaly and physically confused.
Now if movement only has meaning for us in that it reflects or reminds us
of natural movement, ie the knowledge we have aquired by studying the
movent of other living creatures in order to know them, their intentions,
their feelings etc ( if it moves its alive -if it doesn't its dead) we come
back to the question of how far can we stretch? How far can we move away
from the living present body and still reflect natural movement? Is this
the qustion under discussion?
Who knows. Fun, eh!
Even ruins have residuel energy and are visited.The people have just moved
on elsewhere.