The Blind Spot
A simulation of shape and form represents the mind-body dualism (disconnection) that roots our predetermined nature with an im-potentiality-of-being.
Im-potentiality-of-being = powerlessness = a moment of non-intentional experience.
A study of form. Bodies in motion
As infinite points of stillness intertwine, we move with impulse, contemplation and purpose. A collection of ‘moments’ define motion; orientation through a particular space at a particular time. From the beginning movement which starts somewhere on the body and freely creates the surrounding space, our body and mind present a moment of separation and doubleness. A separation from the mental dimension and doubleness of the corporeal form. As the outcome of premotor thoughts, inner motives are triggered on a continual loop as we live a double reality, one of physicality and one of thought.
Sustained over a certain time one gains a specific autonomy; solitary and unparalleled. A time, space and a reality that only you know. These two realities are in contact, they touch one another but one is not derived from the other. In continual motion, the body may be left behind, carried away by a predetermined nature and autonomous instinct. In this instance the human being is not fully capable of itself. As Dasein; a personal experience of ‘being’ (Heidegger 1962) holds a reality that consists in the potentiality-of-being (the possibilities to ‘be’), an oppositional consciousness is present in the other being, who cannot determine the meaning of the world and therefore control itself. Characterized by a substantial reality over potentiality, a shift in the plane of existence challenges our predetermined nature with an im-potentiality-of-being (powerlessness).
With the body in mid-motion, formal structure is fragmented, disengaged of symbolism and faced with the immaterial question of inscription. The body of the dancer leaves an imprint of movement in space from a transcription of motion, with no tangible support, the ephemeral figure is left to vanish into the flowing and fleeing of time. Spontaneous interaction: the mind-body dualism Analysing our human interaction and evolutionary understanding in the world that we live in, powerlessness of intentional experience can be imagined as a blind spot. Consciously unattainable, it participates in the way of human experience as an object that does not need to be over-come. As the body duplicates between reality and separation, an im-potentiality-of-being destabilizes attributes of action and desire. A visual simulation of action mimics what we see, through an experiential flux of perception that ‘imitates’ motion, the physical reaction is instantaneous and has dissipated before its stimulus. It is in this dual structure, a place of non-intentional experience, that the being is powerless. As a paradigm shift supersedes the body from the mind and in a moment of sensory correlation that we gain back control within our modes of existence. Rooted in the certainty of the body, movement experiences as an immediate -a momentary undetectable separation from the mind.
Though continual evolution may withhold a certain spontaneity of human freedom, hidden necessity in its predetermined nature will allow us to unify both perceivable realities. A mutual exclusivity between what is experienced, perceived and thought can be activated in the mind-body dualism.
The harmony of movement in space
Representing the mind-body dualism; a separation between entities, material disassociation enforces the simulation of shape and form that we see. A kinaesthetic a necessity to ‘be’ allows the body to pass on an immaterial force that breaks down the conception of movement. Exhibiting a structural vision of motion, the image responsible for our optically biased standpoint conceptualizes physical change. A physical record of momentary impulse bridges the realm between thought and reality.
Negotiating between stasis and kinesis, we live in flux of stillness and motion. In tune to our immediate surroundings, we feel and move with arbitrary force. As chosen primitive units of movements transform into space, they create a shift in sustained time and energy. A ‘charged’ space of location and orientation creatively enables new and energetic production to follow in stasis; a passive state in which one maintains the capacity to adjust itself to inevitable change. Susceptible to environmental influence, lines between reality and dynamic capability are blurred or even distorted.
Harmony of movement in space is dependent on Dasein, of presence and of affinity with the body and its kinesphere. Expressed through performance based on a series of rules of position and transportation, motion speaks a formal language of cognitive impulse. We move within a mentally rule-bund construction of bodily inhabitance in order to sustain balance in the space which we reside. Through the dynamic quality of directions, energy flows through the human kinesphere and challenges boundaries imposed upon ourselves. Continuously
unable to conceive one without the other, interdimensional movement links dual qualities of space and dynamics with stasis and kinesis (stillness and motion). Human body, geometry and control The human body gives the structure of the kinesphere its decisive spatial orientation; horizontal, vertical and sagittal. The body is in extensional space and moves within a virtual solid as it traces its’ circular inscription on the world. Bringing together the space around the body, an energy of highly dynamic and malleable relationships with movement and objects create a shift in spatial harmony. Lines of curvature emerging from a not-so-human subject push through harmonic structures and appear to “touch” specific points on the metaphysical surface. The physical delineation of this space also seems to define an implied volume of movement combining both the surrounding space and subjects’ body. A distortion of entwined geometries re-configures the characteristics of movement and when met with the outline of an indistinct human form, dislocates the three-dimensional configured space. Conflicted with an inconceivable direction of non-intentional experience, the body and the sculpture become one entity and share a geometric spatial harmony. The human body shape is time-dependant and is the embodiment of the different forces that are voluntarily or involuntarily applied to it. Individual experience of movement is a sphere of communication to which we direct ourselves and derive our own sense of identity through dynamic expression. Exaggerating the potential for motion, spatial-geometric structures are an extension of the self in which to interpret self-mediating human existence. Relative to the renaissance origin of ideal proportions, the
human body can be reduced to three principle shapes; the square, the circle, and the triangle. To move amongst the constructed fabrication presents a paradoxical potentiality-of-being. Seeking a notion that suspends the movement in time and space, the figure is circumscribed within a geometrical cage of lines and surface while simultaneously attuned to its dynamic nature. Challenging the geometrical written language, the body assimilates form into “dream-architectures” (Laban 1966).
Since ideal geometries and physical reality were believed to follow a divine harmony, we can view the human body not as a static, fixed form, but a series of configurations which expand to a space in reality outside of the body. In a place between the self and perceivable reality, the stable image of unstable appearance can be understood by a kinetic signature left by the body whose form can change in space at any given time.
A return to powerlessness
Sight often buries movement under the veneer of image, blurring rational thought and obscuring boundaries further. To render motion and momentarily capture an unstable place in-between ‘realities’, the image succumbs to a visual representation of the third mode of existence. The body and soul are entangled as liminal ontology as a being-in-self always caught between two modes of existence…Between permanence and autonomy, between stillness and motion (stasis and kinesis), between human and machine and between illusion and reality.
There is a dynamic balance of the moving body and space; integrated and temporal. An equilibrium of being where the true reality of motion can be perceived, not only as a fleeting experience but as a corporeal form, catalysed by the impulsion of light.
Further reading/ references
Abbas, Niran 1999. The Posthuman View On Virtual Bodies.
Bachelard, Gaston 1957. The Poetics of Space
Bertol, Daniela 2017. Form Mind Body Space Time – The Geometry of Human Movement
Dils, Ann 2002. The Ghost in the Machine: Merce Cunningham and Bill T. Jones
Hayles, Katherine 1999. How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics
Heidegger, Martin 1962. Being and Time
Introna, Lucas 2009. Ethics and the Speaking of Things. From Theory, Culture & Society
Koubov, Alice 2013. Self-Identity and Powerlessness. From Studies in Contemporary Phenomology
Laban, Rudolf 1966. Choreoutics
Schlemmer Oskar 1971. Man: teaching notes from the Bauhaus
Simpso, Peter 1998. Hegel's Transcendental Induction
Sutil, Nicolás Salazar 2015. Motion and Representation: The Language of Human Movement
THE CHAIR IS TOUCHING THE WALL
NO BODY'S HOME