The poetic idea of human self-balancing vith a view of "wholeness" linked with the (human) concept of time which openes the space for many questions of motive and motion ...
A dancer - balancing on the tips of her toes. A classical ballet ideal - the art of balancing.

Human psyche is a self-balancing system. The absolute is (always) just around the corner ... A clock - a symbol of (linear) time. The subjectivity is a projection forward & backward in time... A clock centered on the nose gives a funny clown-like look. A comment?

First object (alpha) was unable to spin on its own, because of the weight of lead accumulators. The frame was not very well  balanced ... a prematurely born ...

The second version (beta) is lighter, smaller and stronger but it still has problems on rougher grounds. The neccessary financial injection to upgrade was almost too much ...

PLESALEC/ PLESALKA

Plesalec je avtonomen gibljiv objekt, ki se �eli predstaviti kot umetni�ki subjekt.  Deluje na principu plesa/ pomikanja skozi zvo�no polje v prostoru. Njegov komunikacijski kanal (-> vi�ji smisel; motiv) je torej zvok, ki ga vodi sem ter tja po prostoru. A ker gre �e za abstrakcijo (primarni motiv je gibanje; posledi�ni motiv, ki ga �elimo, pa je zvok - vmes je neka to�ka potujitve, ki pa jo dolo�imo/ osmislimo ljudje). �ele ko se neposredno razumevanje vzrokov (vi�jega) gibanja (-> tokrat zvok) zabri�e - torej se samo gibanje kot neposredni (�eprav nelinearni - ne neposredno soodvisen/soodgovoren) vzrok umakne v ozadje - objekt "za�ivi" samostojno �ivljenje.

S procesom pozabe (prvotnih) razlogov se torej vzpostavi (novo) razumevanje. Razlog je v spremembi sistema vrednotenja, vendar meja v na�em primeru ni popolnoma zabrisana. Tako gibanje kot zvok ostajata prisotna. �e pa bi se gibanje izostalo (recimo pri poslu�anju le zvo�nega zapisa), pa bi popolnoma pre�li v drug vrednostni sistem.

Ta na�in nastajanja in osamosvajanja miselnih teles je enak kot pri mitih. Mit je miselno telo, ki se je (pomensko) osamosvojilo (postalo verjetno - torej resni�no) s tem ko je izgubilo svoje vzro�ne povezave. Mit ne potrebuje posebnega procesa razumevanja - kot nosilec pomena je neposredno razumljiv. Pri mitu so vzroki zabrisani. �e bi jih znova prepoznali, bi mit razpadel. Temu pravimo demistifikacija.

Plesalec vpliva na zvo�no polje tudi povratno - vsak trenutek ga torej spreminja. Hipnim spremembam pa se upirajo posamezni deli tega sklopljenega sistema (objekt in prostor po katerem se giblje). To imenujemo inercije in so posledica fizi�nih lastnosti, ki se na spremembe ne morejo odzvati hipno.

Seveda gre tudi tokrat za metafori�no postavitev. Bistveno vpra�anje, ki si ga postavljam je, ali ni morda �loveku subjektivnost dosegljiva zaradi gibanja (v splo�nem: dinamike) in ne (le) zaradi jezika?

gibanje -> motiv (-> gibalo)

Neka okrevanka je po hudi nesre�i, po kateri je do�ivela popolno amnezijo, povedala, da je imela najve� te�av s ponovno priu�itvijo ravnote�ja - hoje. Zastavljeno vpra�anje postane bolj verjetno, �e fizi�no uravnove�anje raz�irimo �e na psiholo�ko, nad katerim pa imamo v vsakodnevnem nizanju trenutkov precej manj mo�i.

Razcep, v psihoanalizi poimenovan  manko, onemogo�a stati�no stabilno stanje (-> trajno sre�o, trajno nesre�o). Ali pa ni morda prav ta razcep motor, generator sprememb? V takem primeru so tudi odlo�itve (racionalizirane spremembe) lahko dokaj poljubne (odvisne od inercij - tudi in predvsem psiholo�kih - vsakega individualnega sistema).

�e o racionalizaciji:
Besedo racionalizacija uporabljamo, ker gre praviloma vedno za osmi�ljanje za nazaj (tudi v naprej), Torej je za to opravilo nujno potrebna kategorija �asovna premica, ki odpre prostor vzro�nosti in posledi�nosti. To se zdi primarna �lovekova domena.

Vpra�anje Plesalca je torej lovljenje dinami�nega ravnovesja - najbr� ni izklju�eno tudi padanje. Plesalec lovi ravnovesje na na�in vrtavke, za spreminjanje smeri plesa pa mu pomaga spreminjanje polo�aja te�i��nice od ravnovesne lege. Za relativno mirovanje te�i��nice skrbi giroskop - nujno potrebni (inercijski) element. Uspe�nost lovljenja ravnote�ja je potreben pogoj za nastanek zvo�ne kompozicije.

Borut Savski

DANCER

Dancer is an autonomous moving object that tries to present itself as an artistic subject. It functions on the principle of movement through the sound field in the gallery space. It's communication channel (-> the higher meaning, sense; -> the motive) is therefore the sound. The sound takes the object here & there accross the space. But the sound as motive is already an abstraction (-> a human translation/ intervention). Primary motive is the motion, the secondary (-> higher) motive is transformed to sound (since we want it to be so...). Somewhere in-between was a moment of estrangement - a change of evaluation system. Since the sound is (nonlineary) linked to movement, this change is not very big, but it should allow the object to achieve the "artistic purpose".

The process of forgetting the basic reasons opens a space for new understanding. This is how the fragmentation of the (human) world works. New meaning is born out of erasure of old meaning. Objects start to multiply like cells.

This logic is similar to what happens with myths. A myth is an (imaginary) object, that becomes self-contained (and credible; real), when it loses it's causal connections. We no longer know what are the reasons that "construct" the myth. If we did it would fall apart (lose it's body) - the word for it is demystification.

The Dancer affects the sound, because it is an active element of the feedback system - it changes it in every moment with its every move. Instant changes are fought back by the various pieces of the coupled system (the object and the space). This is called inertia and is the consequence of the physical properties that cannot change instantly.

Of course, it is again a metaphorical installation. The question now is: is it possible that the subjectivity in human has something to do with the movement (with dynamics, in general) and not (just) the language?

movement -> motive (-> motion)

A female reconvalescent after a serious accident, when she had a total amnesia, told that she had a lot more problem with the learning of walking (balancing), then with the language. The above question is more feasible, if we broaden the physical balancing also to the psychologic balancing, where in everyday life we experience less control.

The split, in psychoanalysis called _____ (fr.: manque), prohibits the static stable state (-> everlasting happiness, everlasting misery...). Is it not this split that is a motor (-> a motivator), the generator of changes? In such case also decisions (-> the rationalized changes) become fairly arbitrary (dependent upon the inertia - also & especially the psychologic ones - of each individual system).

About rationalization:
Since with humans it is all about giving sense/ meaning to the past (also to the future) moment, the necessary category to do this is the timeline (linearized time) that opens up the space of cause and effect. It seems to me that this may be the primary human domain.

The question about the Dancer is therefore the realtime dynamic balancing - probably also the falling down. The Dancer balances in the manner of a gyro, to change the direction it uses the change of the vector of object's weight (gravitation) vector from the balanced (null) position. For the relative stable position of the gravitation vector  we use gyroscope - which is the necessary inertial element. The succesful act of dynamic balancing is the necessary attribute for an emergence of a musical composition.