Further to deprivation

From The Freeze in Ghost Stories- Stray thoughts on photography and film by Pavel Büchler (s0me less interesting than others)

"(of course there is also another way of looking at this: the freeze is a simple role change. For an instant, we are privileged to look through the camera– as though we hand't been looking through it all the time– and see the film creww making a pause for a pose)"

In our situation who changes roles? What kind of – if any– heirachy is there? I would say that we as performers need to operate/co-exist or deprive ourselves in order for the (any) meaning to become activated- that IT poses rather than us. Like the photo of the light/reflection/camera (all simoultaneously working) obscuring my face. This could be how to approach the appointment, a flash of light that obscures?

I'm not quite able to articulate it yet, but I think this freezing to a pose in film is similar to how we are disrupting the archive- we interrupt its normativised mode of performance, deprive it, and thus create a possible contingency.

In this book, by Pavel, which is sometimes less interesting he says earlier...

"it tells us how imagination, the power to make something out of nothing, can be manipulated to unite us collectively in a vision of reality which otherwise conflicts with individual perceptions and consciousness"

But as mentioned in passing before, perhaps we ought to rather make this as an imagined scenario, in a poster or discussion than actual performance?

a pause for a pose

I'm glad you introduced a metaphor of the film set, this makes it easier to abandon the mind-numbing dichotomy of performer and audience. The photograph of the heads are indeed working. To extend the metaphor of the film, the head or obscured face becomes part of the 'set'; it absorbs, reflects and mirrors other elements in the set. It is at work also because as Buechler mentions, a role-change takes place. This role-change ideally, is a moment of tension or alternation between immanence and transcendence. Immanent, because the head is part of the set (poured into the space) and transcendent, because of a transferred consciousness, the camera consciousness or perhaps becoming a looking glass oneself.

Freezing, then, isn't about converting an experience into an image, rather a sensibility that transcends into the image. (like a ghost) It is true that, maybe it sound freeky, I (we) use this as method to approach a space or material, to let go of a focus or normative mode of attention in order to act with the material or let the material perform, or yes, maybe less floaty: to create a possible contigency.

I like to stretch the idea of physical presence in performance situation, perhaps we could make a dialogue-script for Transmission and leave it relatively open for Ada (e.g. poster project).

pfff...
wish I had an idea now how this could be actualised.

Deprivation

the image of turning away, shadowing, blocking or in this last case the disappearance of the face all create a hole- it's not I think we should discuss void here but perhaps it is about the turning, shadowing and over exposure of the moment of FACING that could be something, this could be a deprivation that incites a willful instigation of a subjective protocol ie. this could be an appointment?