As we have previously explored the great dilemma we face when it comes to approaching this strange topic of imitation and strictly at the crossroads of our own personal imitation is that the process of imitation is not at all unique to ourselves, in that we are confined to the same exact body design; we each have the same amount of limbs, the same digits, the same movements, unless we categorize our bodily movements as processes of elaboration within the specific category for the movement of such a limb. This too has problems, dance and theatrical demonstrations are not unique because they are professionally displayed, nor do they intend to be unique, but rather the spectator is driven to be amazed at the synchronicities between the dancing fleet.

DANCE

Dancers are imitating the capabilities of body extension and therefore what is dancing when it is orchestrated with timing and finesse?

Planned collective imitation?

The imitation that arises with dancers is a specific type of imitation that is the expression of some ethereal process occurring inside the dancer. One which we could call conscious experience. Dancing doesn't need music, it can be utilised in choreography training and it can be used as a tool to express a spontaneous and immediate collection of feelings as a result of them arising as sensations and impulses within the limbs, one spontaneously moves often accompanied with joy and laughter. People dance when food tastes great, people dance when great news has been bestowed upon them, people dance in celebrations with music and in celebrations when no music is present. The result here is that dancing is an articulation of a bundle of joyous micro events happening at once, in the body but in a process of translating the occurrences that provide these spaces for engagement from the physical world through the recognition of one's identity experiencing spatial awareness.

With dancing the events that arise are coming from electric feelings that charge the limbs with vibration and energy, the act of dancing is the synthesis of these emerging feelings that come from some allocated thing of value from perception across the material world and the bodily systems reacting together therefore articulated with outer expression.

The Role of Psychosomatic Imagery in Dance

But, what is this vibration and energy?

It should not be thought of as a purely in terms of energy in its abstract existence. But, rather chasing the occurrence of something that generates psychosomatic imagery. If we breakdown the intervals and content of the imagery that both arises and proposes to the individual an option to dance it depends on several elements that make the possibility to dance an option.

What are the images that are being translated? Images charged with symbolistic opportunities for engagement—these opportunities are algebraic invitations containing variables for gestures, motions, spatial awareness, and a visual execution in a union of all variables combined. This union is achieved through a series of events occurring in the body that require authentic actions to be expressed skillfully, completing the symbiosis. This projection of one’s experience onto the material world makes the process of imitation possible, and fluently so—something we consider instinctual, not requiring prior thought. However, conscious understanding is inescapable, even if we are not actively aware of a process.

The expression that follows from these internal occurrences is unique, dependent upon the individual's psyche combined with their physiological capacity to experience the present moment and their openness to drive forward these impulses. Yet, the desire to dance as an expressive activity does not segregate those elements within a hierarchical category where the individual’s personality encounters friction between what is conscious and unconscious. It allows people with socially uncomfortable body positions to complete their body’s planned movements as they are demanded from within.

As we mention the reliance on the personality here, means the individuals ability to withstand the micro engagements of suffering, anything that does not provide a positive pleasurable experience is to be noted here as micro suffering, perhaps an example would be, being comfortably sat to then having to attend to an errand, or completing a task one doesn't want to do. Mirco suffering here is having the desire to be doing a thing which makes one feel good but being engaged with a task at hand that is burdensome and inconsistently timed during when the desire occurs and as one sits with it and comes to experience the friction between ones awareness of the two options available the inbetween is the resistance suffering.

This is why dancing as a social occasion is used as a tool and medium to 'lift the weight' from the shoulders of the attendees. The 'weight' being lifted is the turbulence of the human condition—those things such as dreams, goals, social lives, family, the contents that make up our lives. When these are all simultaneously charged and active, they become templates that provide the option to thrive and conquer difficulty or, alternatively, to become overwhelmed. These elements grant us the choice to grow or remain statically the same. Yet, this 'turbulence,' like psychosomatic imagery, comes prepared and alive as invitations that call on the individual with a promise—in the form of a bargain—for physical movement, used to elevate suffering and bury previous perceptions in favor of new ones. This process allows individuals to embrace their bodies, conquer intangible figures of imagination, and evolve in the present moment by reorganizing and polishing burdensome elements, thus reducing the electricity of daily life stresses.

Therefore, socially awkward, disabled, traumatized, and even injured people can still be granted the option to dance successfully, whether before others or alone. In this instance, the ability to dance as an act of imitation—an amalgamation of social requirements colored in joyous understandings specific to the individual but exposed in a unifying radiation—becomes accessible and supported by the same experience occurring within others attending the dance. Dancing alone or with others provides a social evolution that makes the social world something that calls upon them rather than something they must actively seek.

As a result, the conscious framework of one’s total awareness is left behind when they begin to dance, silencing the conscious order of things. Just as we incorporate the day-to-night flow into our reality as something entirely immovable and surrender to it because no other option is available, the body and self’s decision to move in a certain dynamic aligns with the very order and movement of the earth.

As we are the mediums for life, the very life source is also the medium to expand from the shackles of conscious awareness into the very flow of existence. To point out, it is rather not considerate to acknowledge the nature of our selves in this part, but that we are in no need or desire to understand it either because it holds no significance to the process of imitation, therefore our searches are always counterintuitive.

It is as if they have stepped out of themselves to express a specific process that is happening to them. Because the act of dancing is a process of being summoned in the moments of imitating the bundle of images one sees across their reality: sunset setting, the conversations around them and their perfect timing, the collection of beautiful and inspiring things happening. It is, therefore, that dancing is the expression of the variables that make up the equation of perception, not just the inspired movement to act from music.

The equation in this moment is that multiple things of value are occurring and have met at a perfect moment in time, and therefore one is summoned to deliver and engage with the answer. The answer is a calling to harmonize all value engagements inwardly through harnessing the drifting awareness and devotion to the presence of such things occurring to one. Through the strings of awareness, one is able to embrace their power, enhance their physical experience, and perceive new perceptions, therefore in dialogue with something requiring constant deaths and rebirths of micro-knowledges of one's reality.

The Interplay of External Imagery and Personal Consciousness

It is important to note that these images are not necessarily "psycho"-oriented; they pre-exist primarily in the external world, sustained by both natural phenomena and the spontaneous social activities of others, which evolve and elevate the social imagery presented to us. Our immediate encounters with these external images in the material world are not fully grasped through psychological understanding alone; rather, they are first perceived as factual elements before any possibility of psychological interpretation arises.

This is because everything is fundamentally an image; it has an appearance, a specific coloring, and is strictly material. The eye sees the material and translates its presence in a unique way.

We have no influence over aspects of the natural worlds existence, like day and night, and so these can be considered “natural imagery”—images that exist independently of our perception, persisting before and after our conscious awareness. In relation to our finite mortality, they are effectively eternal, continuing until the end of the earth or all humankind. Even after our death, these natural images remain influential for any living creature, conscious or otherwise.This is not merely a matter of consciousness; rather, it is the nature of encountering the material essence of the world in its raw existence that influences any living being through the sheer appearance of its livelihood.

The arrival of images—both from natural imagery and those generated by the world’s response to the presence of our personalities within an environmental setting—can be seen as reflexive behaviors stemming from our absorption of the images’ sustaining essence and its immortality. This essence is intertwined with each individual’s ability to accept and freely move their body as they wish. Yet, these behaviors are not reflexive in a purely random or biological sense; rather, one moves in harmony from the images presentation and with their personality, allowing others to perceive the defining qualities that shape their character and identity within a social context.

The images themselves are not obligated to adapt to an individual’s conscious choice to embrace or support them. Instead, the images presented through environmental perception are entirely malleable, sinking into the body in such a way that it might be more accurate to say we are “the colors, sounds, and breath of reality.”

If we assume there is a certain conditioning in the principle of imitation within dance, where images are active in both personal surroundings and an objective reality that others would also recognize, we might infer that these images can be surfaced objectively. However, they seem to direct and maneuver beyond both objective and subjective reality, entering a realm that is perhaps a fusion of both. The images themselves appear to be seeking mediums—vessels through which they find sanctuary and expression.

To consider them as fully independent is also inaccurate; they depend on the very basis of reality for their existence—not in a purely objective sense, for reality requires a conscious being to witness it, but in the sense that the physical earth would persist even without a conscious eye to perceive it. This perception of the physical world—its natural origins and ecological surfaces like plants, air, skies, and seas—probes into our consciousness because it might inherently reside within our identity, seeking expression. Not in an anthropomorphic way, as if the ocean “speaks” with its waves, but in the sense that its mere presence is enough to inspire a reaction.

The basis for understanding this is that the imitation derived from the appearance and physicality of the material world follows a similar process to how we adopt behaviors under inspiration. Inspiration itself is a fragment of how these images move into being. From there, their manifestations possess a life of their own and do not require our intellect to shape them; instead, they begin to guide our intellect, directing any conscious content we wish to apply to them. Often as undermining inclinations.

Once we have employed our own practices and rules to say, “This is mine,” or, “This is my authentic expression,” we color these manifestations with cultural and symbolic significance, as both aspirations toward character unity and temporary departures from the order of our own contributions. This inquiry can be better understood as a long, drawn-out episode of captivity, yet the strangeness of this captivity by images is that we carry it with pride. Often, we delude ourselves into believing that we are the originators of the passions and movements that arise from their continued existence, as if we have captured and celebrated the experience through prolonged cultural and social episodes of meaning development.

Despite engaging with the exact same process as before.

It should be noted that psychosomatic imagery is not merely a conceptual framework for understanding events after they occur. Rather, these images are generated through perception itself, prompted by the compelling values presented in our love and fascination with colors, sounds, movements, and the essence of reality. The true substance of reality motivates our minds to stay active and engaged in each moment.

If we ask, "Do the images make us move, or are they simply descriptions following movement?" the answer remains the same: these images do indeed cause a reaction within us. Even if we reduce this reaction to its conscious aspects, nothing in conscious life is ever truly still—nor can it be. The body, even on a micro level, is constantly in motion. Therefore, the independence of the image does, in fact, contribute to movement.

To draw a line and say that images from the material world directly generate specific movements within an individual is entirely valid. This principle explains why we decorate our homes with care, aiming to make them as beautiful as possible. Even if we claim no real interest in decorating, we still choose one item over another, understanding that each choice will create a specific reaction and establish a certain equilibrium for us as we live around it.

This illustrates that we actively choose to establish an environment based on its appearance. Going further, the decision to select a particular colored object to complement a chosen color palette throughout the home affirms the relationship between material objects and their appearances as motivators of a specific reality. By placing this colored object here and painting the walls in that color there, these colors and objects occupy a shared space, their presence alone seeking an outlet for expression. When we finally sit in the completed room, we recognize we have arrived at the vision we intended; we can sit, embrace the room, and become immersed in what we have created.

Once the artistic project is complete, what have we accomplished? Perhaps we have enhanced our relaxation, thrown a party, or invited friends to gather in the room—all because we wish to share the completed interplay of imagery with others. This imitation, crafted through the combined use of images and colors, has indeed sparked movement and created a ripple effect. Entering a professionally designed space can leave one taken aback, unsettled, or even entirely uplifted. New thoughts, new actions, and a desire to refresh one’s own surroundings in innocent wonder can all arise in response to this immersive environment.

The identity of this movement from the imagery, we shall explore in the next series.

From the initial recognition and perception of these natural images—the colors, shapes, and forms present in our surroundings, and their significance as they combine various abstractions of physical reality—we develop associations for each element of this allegory from the physical world. These associations evoke types of emotions and ideas, tailored into general concepts. However, they don’t appear as thoughts, sentences, or statements of the mind. Instead, the information encoded within these images generates micro-sensations—potential descriptors of language that convey information not through rationality, but through their sheer existence.

Language, in this view, is merely a tool we’ve devised to navigate and interpret the world more easily. It serves as an attempt to alleviate the immense challenge of engaging with a world of constant, infinite information as it arises and falls into eternity.

Since at our fundamental inquisition before the world we are identically the same, these natural images as they are enlightened with allegoric information deliver us to a shared experience in dance, and it is through the modes of the organised environment that renews the capacity for us to participate with their usage during the ordered social event, whatever it may be.

Yet, the very installation of these images on the individual is where the articulation of the person's conscious relation is unique. In dance, at social events with no professionalism, purely surrendering to the music and atmosphere, the very sounds and rhythms of the music have only one identity: a song and a decided sound made by the producers and musicians are objectively true as they are heard. The sound could be a C or a D chord, or it could be a single entity sound of an electronic synthesis of sound.

Therefore, it is not the music's identity that is translating something unique, because it is only ever in its natural state, fundamentally unique. Instead, the use of the individual's presence and conscious totality experiences the sound in accordance with their conscious capacity as it colours it. Meaning, if their suffering or life events endured in the world has altered aspects of their patience to be consciously aware, so too, those aspects that are still live in the psyche are attributed and complemented to the very presence and radiation of the sounds as they transmit and as the individual is absorbing the music.

It is not that the individual possesses authentic impulses by their own accord; rather, the significance and identity of the impulses are translations articulated by the imagery present. These are translated into impulses that direct the body in its biological, psychological, and physiological states, encapsulating all. This explains why, as we discussed earlier, certain socially marginalized groups—such as those who are overweight or impaired—are still permitted to dance and are not segregated by the fundamental life source of the imagery.

The impulses are directed through the individual’s authenticity and preserve themselves as they are expressed outwardly. The movement that then takes shape for others to see and understand only becomes culturally significant once others choose to engage with that presentation and accept it into the shared experience as something useful or applicable to all. They may choose to interpret or “paint” the movements in a certain way, but this does not make the impulses themselves culturally relatable. Rather, the articulation of these impulses, as they are displayed, simply mutates and translates again in another’s consciousness, beginning to unfold anew. And thus, we arrive at the act of imitating that which was already imitated.

In some areas, we can suggest that these impulses do mutate and become culturally significant, but their very essence is not with that intention. Because what one translation provides is not another translation from that; the emergence of the following translation becomes something else. It is therefore immortal and cannot be destroyed at all, nor can it be molded by anything—it simply is, in itself, itself, looking to imprint on the living and marks itself by inspiring and directing the living consciousness of a creature, providing them an instinct to evolve through its need to constantly and eternally flow through the living.

Which is where we will encounter the topic of the will in the next discussion.