“The painter “brings his body” says Valery. And, indeed, we do not see how a mind could paint. It is in lending his body to the world that the artist changes the world in painting. (M.Merleau-Ponty, Eye and Mind. II, 1960). How to release the body of the cameraperson from its role of spectator, mesmerised by its object or melt into a cine-trance ? The body is no longer the mechanical support of Vertov’s Kino- eye (“I am an eye. A mechanical eye. Me, that is to say, the machine, I am the machine that shows you the world”). The body is now part of a posture that bullies representation. A cinema from the open experience, subject to the vagaries of the real. Here I have reintroduced the preeminence of the body in the moment of filming. The body became a receptacle of flows of intensity and affects based on the perception by the vector of the camera body grafted to the eye, arm and hand. As Brakhage I attempt to move aside from language and a construction of meaning to a cinema of sensation. Sensation has to be understood as the meeting point of a flow, a force and a body. Which is what the cubists movement already conceptualised in “the coincidence of a sensation and mental direction”.(See Giglio island).
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