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.
