By Stamatia Portanova

Digital applied sciences supply the potential for taking pictures, storing, and manipulating move, abstracting it from the physique and reworking it into numerical info. In Moving with no Body, Stamatia Portanova considers what fairly occurs whilst the physicality of stream is translated right into a numerical code by means of a technological procedure. Drawing at the radical empiricism of Gilles Deleuze and Alfred North Whitehead, she argues that this does no longer quantity to a technical evaluation of software's capability to list movement yet calls for a philosophical rethinking of what circulate itself is, or can develop into. Discussing the advance of other audiovisual instruments and the shift from analog to electronic, she makes a speciality of a few choreographic realizations of this evolution, together with works through Loie Fuller and Merce Cunningham. all through, Portanova considers those applied sciences and dances as how one can imagine -- instead of simply practice or understand -- circulate. She distinguishes the choreographic idea from the functionality: a physique plays a circulation, and a brain thinks or choreographs a dance. equally, she sees the flow from analog to electronic as a shift in perception particularly than just in technical cognizance. studying choreographic applied sciences for his or her means to revamp the way in which circulate is assumed, Moving with no Body deals an ambitiously conceived mirrored image at the ontological implications of the come across among circulation and technological systems.

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The vagueness of this rhythmic sensation is counterbalanced by a perception of the structure of the dance in its causal logic and in its form: a confused sensation accompanied by the incipient, anticipatory, almost automatic thought of an order and a sense of dance. 29 A world of contemporary occasions in the present (the eye, the object) can successively become part of the same historical or causal route: the past is reflected and objectified into the present, so that an object can continue to be red across time.

Factors can be expressed. ”18 Watching a film does not imply a need to know everything: to know all the possible relations between characters, things, and events extending beyond its actual duration, beyond what appears. In this sense, a film presents us with a series of mysterious facts, mysterious in the sense that nothing is shown beyond them: neither what happened one second before, nor what will happen one second after the beginning or the end of a shot, of a scene, of the whole film. And yet we are (almost always) able to watch, follow, and know a film and its events.

Not the absence of choreographic imagination, but a choreographic imagination in germ, in potential, appears in these first steps of the choreographic-cinematic apparatus, exposing a light matter that already seems to magnetically attract an infinity of possible cuts and recombinations. 6 This material flow is not totally chaotic but follows its own logic: a material logic that is revealed by cinema with a fascinating clarity. 8 Qualities and quantities (“traits of content” and “traits of expression”) already constitute an immanent material “diagram” from which images are cut: the capacity for imagination is thus implicit in matter.

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