This is the prototype and also the spinning-kimono-for-sale-version as I like to call it.
Alec was saying about how they hang on a horizontal and I had thought i would like to keep one of each positive and negative as props. . .
I have written a few notes to Stina (Jens' girlfriend) who is a dancer and choroegrapher- ( I like leasing some out to see what comes back) and think it good to sketch these ideas out as well as to add to what I want to send to her- a sort of warm up and dance out and even if it takes recording ourselves start sketching this out because that process in itself could be really interesting and generative and is in keeping with the content. The table in my studio is a fabulous stage!!!
I also really like the overlaps and the sense of a tension in a duality or a twin duality where one is always the exception. This concept in intself and the relation between the one and the multitude or the
self and other and phallic movement/ the beginning of a movement re: clinamen in the formula is quite a fertile area.
I like the idea of perhaps there being two views of the movement between Lacan s image if I may call it that- front on (aristotle's from above) alternating to present inconsistencies- like Bruce Nauman's floor tiles. Or even formal ambiguities between a mechanisitic movement or framing and a more intuitive hand held action/ framing. And then something else- photos taken at regular intervals- sound or something that comes from the process- that's neither one or the other- a still of moving footage or an interplay between image and monologue. Or perhaps a big costume of the fortune teller controlled by for people that spits out commands to the dancers! If only because its a pleasant metaphor for the quadrologue . . .
The fate of the action seems to be an interesting channel- what will become of it- what is it for?
If movement is required- If the image can suggest or hold a movement?If the image is necessary to the action- what happens to the image after the action and other permutations . . .
I'm loving the flow- !
I think the idea of trying to choreograph, film and conceptualise from the top and from the front are an EXCELLENT idea, S and C. That - in relation to hikinuki stripping could be faswcinating. I am alrerady beginning to visualise it - see a dance, movement. The removed clothes could then be put on the spinning poles you described, Conal. There is a beautiful sweeping motion that Tamasaboro makes with the kimono when he kicks it out behind him, to get it out the way when he is dancing, but it isn't just practical - it is pure style. The spinning poles could be a version of that motion with the garments. An affectation - and I LOVE affectations as gestures (not the 'lived' psychic, phoney type!) I personally need to look more into the clinimen and oulipo theories and will really need both of your suggestins and help with this. All new to me (although we have spoken about both briefly before, of course.)
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