Ausdehnung and Plasticity from Freud and Kant : the Dancer through the Looking Glass/Looking through the Dancer

Looking to the dancer requires looking through the dancer. If a philosophical space intends to figure out and expand the real form and time of the corpus of the dancer, some movements of thought have to unfold themselves in an indefinite reflection, passing through the refraction of an obstinate looking glass. Indeed, the dancer's experience of the real of her body and of the spatiotemporal dimensions she inscribes with her configured movements, is always marked by the looking glass, mirrored, epitomized and reflected. In result, her real body remains untouchable or in-tact, however, split and crumbled into different bodies, levels and parts. This split prompts us with questions on the spacious unity of the real of the dancer's body. The time in where this body is a-life and moving, deciding on when, where and how to direct itself into a beautiful shape and blissful form, constantly ready to give and receive at the same moment, seeing what is coming without seeing, uncovers itself as anticipatory, autonomous and unconscious. Through the concepts Ausdehnung and plasticity, to be unfurled from a cordiality in Kant's and Freud's interpretation of sensibility and the unconscious, I will inform the form of the dancer so difficult to grasp, arguing strongly for the dancer as an anticipatory power : a moving corpus that is time and eternity as well as space and infinity in one.