Post-media poetics in a digital composite: The oriental dancer

The essay addresses deep remixability in dance, film, software, media, and metafiction in The oriental dancer, a digital project of various composites created by Sadim Mansour-Rondeau. The objective is to contest former anthropocentric constructs pertaining to dance and aesthetics. Attention is given to technical inventiveness and creativity in three digital composites in the project, in the framework of Deleuzian-Guattarian and Derridean notions, together with post-media and software studies. It interrogates the dynamicity of the combinations or assemblages in three of the project's numerous composites to identify processes of deploying software for apprehending what escapes recognition. The concluding results stipulate the importance of appreciating digital composites as productive of sensations, affect, and forces, in a Deleuzian-Guattarian sense. This reiterates the dynamicity of software as a non-human agency that transposes multiple content, along with realities intensifying experience, thereby promoting various modes of seeing and being (Manovich; Parikka). Basically, the encounter with the digital composites in The oriental dancer generates a poetics of potentiality that releases infinite modes of becoming, a gateway to open possibilities of future reinvention.