By Jan Patočka
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Extra resources for An Introduction to Husserl's Phenomenology
Rainer’s strategies of sculpting spectatorship confront the audience with the difficulty of actually perceiving movement and direct attention to the perception of movement as a phenomenological problem, that is to say, one that addresses the ways in which we constitute the world from what we experience of it. 40â•… Maaike Bleeker By repeating sequences of movement while facing different directions, for example, she allows movement to be perceived both by hindering what happens in these processes and by highlighting that.
Does not come about” (Phantasy 585). Instead, what prevails is a competition between apperceptions of the physical image thing and apperceptions of the image object. Consciousness directs itself to either one or the other in a given act. We turn our regard “from what is perceptually given to the figment interpenetrating with it” (Husserl, Phantasy 585). How, then, can the same sensory perceptions, the same set of intuitions, support consciousness both of the actual and physically present things of the theatre and the semblances they produce?
In Lambert-Beatty 133). In dances constructed according to this principle “one part of the phrase—usually the part that is most still—becomes the focus of attention” (33). In Trio A, Rainer sought to prevent such reading by means of a phraseless continuum of movements, an inorganic continuity, and thus destabilize the constitution of discrete movements as objects of perception. Lambert-Beatty quotes Jean Nuchtern’s review of Trio A for the Soho Weekly News in 1976, in which Nuchtern attempts to re-create the effect for her readers in typographical terms: ThereisnopartofthisarticlethatisanymoreimportantthananyÂ�otherpart eachwordsentenceparagraphcarriesthesameweightasanyotherandits smoothnessliesnotonlyintheequalweightednessofeachwordsentenceandparagraphbutinthejuxtapositionofoneparagraphtoanotherwhichcausesthereaderreacttothearticleasawholeratherthanassegments.
An Introduction to Husserl's Phenomenology by Jan Patočka