The Alan Sondheim Mail Archive

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.

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