>Perhaps even more radical and difficult to put in logical language is a
>glimpsing of
>n o perspectives (that separate realities, objects, fantasies, movements),
>an embrace of unspeakable paradoxes that can be awared, intensified,
>conjured, lived (conjuration not as magic, nor as techno-wizzardry), and so,
>there we go, when and how do we dance or move with others without awing or
>fearing or intimidating or overdesigning/controlling?
this notion of 'no perspectives' is so valuable as it twists us free from
so much ingrained aesthetic programming - including the gaze, and simple
expectations as to which end of our bodies is up (a relevant issue for
anyone who has used the amazing and amazingly low tech connectix camera -
it is round and inverting and twisting perspectives is easier than keepin
the standard upright position) it is a simple shift to develop 'no
perspectives' into a state of fluid perspectives ... and witness the
physical/psychic/spatial mutations that ensue
>
>Abdel speaks of thinking of changing the constricted, falsifying
>psychogeographies in our western culture-vocabularies (above, below, under,
>over, un-conscious, reason, rising en pointe........). So, remembering
>Mark's and Richard's discussions on design and control, how can one imagine
>not-overdesigning movement and its interface with. Not underdesigning either
>neither.
is there scope for a new technological minimalism? i'm beeing drawn
increasingly towards new butoh for 'minimal' inspiration and a sense of
inner depth in the maelstrom of imagery... more at some other time
>
>otherwise moving, and perhaps relinquishing constricted (genre) conceptions
>of "art".
yes... this is it
best
susan