Reassemblages
| Stream Visions |
"As soon as sufficient force comes, then I'll be in - no burn nor scalding. Then the fire looks as if sprayed, like a meadow of water, as if golden. Otherwise it looks very strong, very scary, and you have no strength to go in."
The Nestinarski dancers intercepts power with the land and starts dancing on the burning embers. Both they are not trying to separate the perception from the subject, but on a first signt you look at close up footage of river and dancers walking to the burning embers. The reflection on subjectivity and objectivity are not trying to separate the perception from the subject, but are filming something that is the result.
Baba Zlata, nestinar of the village of. Bulgari (1945)
The Nestinarski dancers intercepts power with the land and starts dancing on the burning embers. Both they are not trying to separate the perception from the subject, but on a first signt you look at close up footage of river and dancers walking to the burning embers. The reflection on subjectivity and objectivity are not trying to separate the perception from the subject, but are filming something that is the result.
Both Chris Welsby and the Nestinarki dancers interacts between the mind and the physical natural elements and the most important procedure is the connection with the nature by imagining something that is not visible.
On a physical level the machine that Chris Welsby use for filming Streamline (1976) is capturing close up of the river and is the actual key for that to allow him to connect the machine with the camera to be in close relation with the river.
On a physical level the machine that Chris Welsby use for filming Streamline (1976) is capturing close up of the river and is the actual key for that to allow him to connect the machine with the camera to be in close relation with the river.
