A new name given to the earth. Both bird and flight, and everything the infant
designates. Innocence, a body before a body. Forgetting, something like the invention
of its own beginning. Also play, of course, frees the body from social mimicry,
gravity and conformity. A wheel that turns itself. A circle that draws itself. The series
of bird, fountain, child, intangible air; and a violent traversal of this whole series.
Lends a figure to the traversal of innocence by power.

The ‘Spirit of Gravity’. The German, the bad German. ‘Obedience and long legs’,

The aerial, broken body, the vertical body. The body that pierces the floor,
just as one would puncture a cloud. The silent body. An image of thought
and as a Real of a body. The force of restraint at the heart of these movements.
Movement subtracted from all vulgarity. A disobedience to an impulse. The secret
slowness of the fast: virtual movement as the secret slowness of actual movement.
The strange equivalence between quickness and slowness.

the military parade the aligned and servile body, the body of beaten cadence

The strange equivalence between gesture and non-gesture. Undecided gestures
haunted by their own restraint. An event before an event has received a name,
without the shelter of the name. Subtracted from the temporal decision, something
prior to time. Suspends time within space. The body beset by imminence,
the spatialization of immanence. The silence before the name, the space
before time. Silence, the most extreme concentration of sound.

the hammering body the body of the military parade. The thunder of a heavy strike.

Music, the most extreme concentration of sound. An obligation of space. The need of a real
space. The event before naming. A showing of the avant-name, a purvey of a pure site.
A virginity of a site, an undreamed-of virginity of a site. Depicts nothing. It is itself
interiority. Visitation in the virginity of the site. Mysterious and sacred
interpretation of a kiss. The conjunction of the sexes, the omnipresence of the sexes.
Pure sexuation, desire, love. Triptych of encounter, entanglement, separation.

A woman, a man. A spectacle. An art. A totality. The closed duration of a spectacle.

The dancer does not dance. A poem set free of any scribe’s apparatus, unburdened
of the poem, subtracted from itself, dance without dance, dance undanced.
The nakedness of your concepts, in the nudity of emergence. A false totality. Shows
that the body is capable of art. An exact vertigo, a latent infinite, the secret slowness.
A new vertigo. A new name a body gives to the earth.

Most language in this poem comes from Alain Badiou’s essay, ‘Dance as a metaphor for thought’, in Handbook of inaesthetics

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