By Stamatia C. Portanova
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Extra info for Dance, Technology and the Material Mutations of Rhythm
G. " (Massumi 2002a: 35) In this sense, it becomes possible to take the dance performance out of the perceptualgrid striating and distancing bodies and spaces,bringing on the surfacethe openness,the sensibility of the body (organic and inorganic, real and represented, dancing and perceiving alike) materically touched in all its points by waves of a diffuse energy (light on the skin-screen, sounds to incite fleeting movements of microphones and eyes). Excited particles aggregate and resonate along the usual routes of the senses,along social perimeters and borders, and along technological channels.
In the hylomorphic/morphogenetictheories of Western philosophy, all physical entities are realisationsof ideal forms (the essences,the models from which notions such as those -42 of copy and resemblance derive); creation appears as something beyond the capacities of the material substratum and only coming from some external, transcendental agency (God-creator-choreographer, as Man himself, or an essential idea). In Deleuze and Guattari's theory, it is matter itself that, without any external intervention, becomes onto-genetic, or hetero-genetic (or, in the philosophers' terminology, `schizo-genetic'), in the sense of a continuous creation or production of difference, a 31 material schizo-graphy.
Phenomenological critiques of embodiment do disembodiment not provide alternative conceptual tools to analyse the machinic or conjunctions between physical and cultural aspects of movement and its relation with the technological machine, because they are both based on pre-established forms functions. biological determination human by defined the and of possibilities Principles of identity and stability dominate in all these readings, together with a body between and mind, anatomy and performance, movement and persistent split dance but also dance and technology (from the physical to the cultural and technical levels).