Abstract
Abstract This article deals with the relevance of video art and filmic techniques for the phenomenological method by thematizing how slow-motion scenes can be used in the analysis of gestures. Drawing on Edmund Husserl's theory of image consciousness, I argue that while, for the empirical researcher, slow motion is a non-analogizing moment that helps the researcher observe the positional image subject, for the phenomenologist, it depicts a different, neutralized image subject that serves as an initial example. This approach leads to further insights revealing a specific form of disappointment of our passively constituted patterns of anticipation concerning the pace of gestural interaction.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
