Thanksgiving Is Ruined |
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May 31, 2018
What it’s like to watch someone dance into a gravitational singularity
The Bolshoi Ballet theater’s seating capacity (.pdf): 2,153
La Scala's, in Milan: 2,800
Royal Opera House's, in London: 2,256
However, Graham Harman might suggest that no attendee at a
ballet at any of these locations or others has ever actually “seen” the dance:
The proper object of aesthetic judgment in dance, then, is its composition: its choreography, we could say. If OOO is right that every aesthetic object is inherently withdrawn, it is the choreography that recedes behind its sensual qualities or surface appearance. . . .
The above is taken from Harman’s “Dance and Philosophy,” which
appears in Movement Research Performance
Journal # 51 (April 2018).
TiR is unsure whether
all of what GH has to say in the essay is earth-shatteringly original ("original" -- ha! whatever
that even means -- whotheyellknows) (e.g.,. Yvonne Rainer: "Dance is hard to see," etc.), to the extent that GH’s meaning(s) penetrated the thickness of TiR’s skull in the first
place.
However, Harman’s essay is the first of his in quite a while that TiR actually
finished reading.
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