By Stamatia Portanova
Electronic applied sciences provide the potential for shooting, storing, and manipulating move, abstracting it from the physique and remodeling it into numerical details. In relocating with out a physique, Stamatia Portanova considers what rather occurs while the physicality of circulation is translated right into a numerical code via a technological approach. Drawing at the radical empiricism of Gilles Deleuze and Alfred North Whitehead, she argues that this doesn't volume to a technical evaluate of software's capability to checklist movement yet calls for a philosophical rethinking of what stream itself is, or can develop into. Discussing the improvement of alternative audiovisual instruments and the shift from analog to electronic, she specializes in a few choreographic realizations of this evolution, together with works via Loie Fuller and Merce Cunningham. all through, Portanova considers those applied sciences and dances as how you can imagine -- instead of simply practice or understand -- circulation. She distinguishes the choreographic notion from the functionality: a physique plays a stream, and a brain thinks or choreographs a dance. equally, she sees the stream from analog to electronic as a shift in perception instead of easily in technical awareness. studying choreographic applied sciences for his or her ability to revamp the way in which flow is believed, relocating with out a physique deals an ambitiously conceived mirrored image at the ontological implications of the come upon among circulation and technological structures.
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Additional info for Moving without a Body: Digital Philosophy and Choreographic Thoughts
In McLaren’s film, the bodies of two classical dancers (Margaret Mercier and Vincent Warren) fragment into separate, superimposed phases of movement. The technique is a very peculiar one: a high contrast positive 40 Chapter 0 is exposed many times successively onto a new optical negative; the same shot is thus exposed on itself, each time delayed by a few frames. 47 In most of his animation films, McLaren uses the inbetween not as a means but as an end in itself, in order to make the very nature of the interval felt as a continuous flowing sensation.
It is now possible to delineate some of the characteristics Deleuze attributed to the idea and, accordingly, to trace a relation with the digital nexus or image. These characteristics, very simply, are: (1) precision, (2) immutability, and (3) an abstract autonomy from the physical world. 8 (2) Digital divisions and recombinations are too static and immutable. (3) Digital algorithms are totally disconnected from the physical field. Now, in relation to point (1), we should remember that the Deleuzian theory of differentials in fact explains very well that the mind, the plane of ideas, cannot be considered the imprecise, intuitive continuity of a sensible field, more than it can be perceived as a striated world of discrete actualized objects: it is more like an infinite continuity of very precise differentials, or an infinity of potential moments of differentiation and relation, of potential ways to realize the cut (more than to an infinitely small cut).
Knowledge, in short, is a selective, ordering, and structuring force traversing, rather than being originated by, the knowing subject; it is a force always exposed to the precariousness and instability of its own openness (rather than simply to the contingency of matter). In films, for instance, the connection of the frames can produce a chaotic becoming of superimposed events that do not need to respect any logical linearity; each event has its own different duration and belongs to its own universe, but they are all realigned and recomposed into complex and yet systematic structures.
Moving without a Body: Digital Philosophy and Choreographic Thoughts by Stamatia Portanova