Message-ID: <Pine.NEB.4.64.0806020922110.20922@panix3.panix.com>
From: Alan Sondheim <sondheim@panix.com>
To: Cyb <cybermind@listserv.aol.com>, Wryting-L <WRYTING-L@listserv.wvu.edu>
Subject: siddhi pose-performance by Nikuko
Date: Mon, 2 Jun 2008 09:22:30 -0400 (EDT)
siddhi pose-performance by Nikuko This is preparation for object attachment. Fashion: Silhouette for posing in combination with minimal blue pattern for orientation. Object attachment buries avatar bodies. Spatially, the body is lossy; dynamically, behavior remains to conjure the semblance of purposeful action. Here, Nikuko orients herself, poses periodically. The pose is drawn out of the dynamics; the spectator, in the pose, pro- ceeds as if the narrative moment continued literally for all intents and purposes. The pose is the ridge or hinge of movement, the pause designat- ing the other, the viewer, designated by the viewer - part of a system of distribution. The pause ensures the viewer that the body is not the locus or victim of seizure. Every pause is a pose, every pose a pause, both intertwined with intentionality. The pose is given as a gift, is for the other, is oriented; the orienta- tion of the pose defines the stance of the other in inverse relationship to occidental landscape perspective in which the vanishing-point might be considered the locus of the viewer as well. But the pose draws in, puck- ers, the vanishing-point, which becomes a plane and punctum of intimacy. Nikuko poses, there is no one in sight, but there is the camera, here literally one of obscura, that obscure little object A of desire for and by Nikuko, above all for Nikuko. One of us moved the other, one of us aroused the other to action, to the recording-booth, to the wide-screen, to the embrace of the other who is identical, not equivalent, to the self-selving occurring, not to mention the dynamics of the same. Ah, I reply, I can finally see her face. http://www.alansondheim.org/pose.mov