On fieldwork voodling : distant voices
" Suddenly the sight before me was recast in a manner satisfying to my vague expectation. Only afterwards did I recognize, as justifications for the change, the resemblance and contiguity of what I call ‘stimuli’— namely the most determinate phenomena, seen at close quarters and with which I compose the ‘true’ world. ‘How could I have failed to see that these pieces of wood were an integral part of the ship? For they were of the same colour as the ship, and fitted well enough into its superstructure.’ But these reasons for correct perception were not given as reasons beforehand. The unity of the object is based on the foreshadowing of an imminent order which is about to spring upon us a reply to questions merely latent in the landscape. It solves a problem set only in the form of a vague feeling of uneasiness, it organizes elements which up to that moment did not belong to the same universe and which, for that reason, as Kant said with profound insight, could not be associated. By placing them on the same footing, that of the unique object, synopsis makes continuity and resemblance between them possible. An impression can never by itself be associated with another impression.”
Quoting a passage Merleau-Ponty's Perceptive Phenomenology, Sam Renseiw, having concotted another conglo-merate of boxed footage fragments of a recent Fieldworks performance, posts yet another performative docu-voodle. Enjoy the sublte sublime moves of Heine Avdal and Yukiko Shinozaki & co by clicking on the icon above. (patafilm # 865, 08'46'', 249MB, quicktime/mov)
Labels: bergen, fieldworks, heine avdal, morphologies of body and space, oktoberdans 14, phenomenology, yukiko shinozaki
posted by SAM RENSEIW at 6:41 pm
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