digital film / spatial installation by TJADER-KNIGHT inc.
running time 24min 42sec – colour – stereo
Looking behind in time, collecting, recollecting, amplifying a moment long past.
Creating a perfect mirror of elongated distance.
Opening through, slowly, sounds followed by images, unraveling ..
By this manner the spectator is also brought within the scene, within the very originary.
“The purely optical and sound situation (description) is an actual image, but one which, instead of extending into movement, links up with a virtual image and forms a circuit with it. The problem is to know more precisely what is capable of playing the role of virtual image. What Bergson calls ‘recollection-image’ seems at first sight to have the requisite qualities. Of course, recollection images already intervene in automatic recognition; they insert themselves between stimulation and response, and contribute to the better adjustment to the motor mechanism by reinforcing it with a psychological causality. But, in this sense, they only intervene accidentally and in a secondary way in automatic recognition, whilst they are essential to attentive recognition: this latter comes through them. In other words, with recollection-images, a whole new sense of subjectivity appears. We have seen that subjectivity already emerged in the movement-image; it appears as soon as there is a gap between a received and an executed movement, an action and a reaction, a stimulation and a response, a perception-image and an action-image. And if affection itself is also a dimension of this first subjectivity, it is because it belongs to the gap, it constitutes its ‘insides’, it in a sense occupies it, but without filling or fulfilling it. Now, on the contrary, the recollection-image comes to fill the gap and really does fulfil it, in such a way that it leads us back individually to perception, instead of extending this into generic movement. It makes full use of the gap, it assumes it, because it lodges itself there, but it is of a different nature. Subjectivity, then, takes on a new sense, which is no longer motor or material, but temporal and spiritual: that which ‘is added’ to matter, not what distends it; recollection-image, not movement-image.
Bergson constantly reminded us that it was not by its own efforts that the recollection-image retained the mark of the past, that is, of ‘virtuality’ which represents and embodies, and which distinguishes it from other types of images. If the image becomes ‘recollection-image’ it is only in so far as it has been to look for a ‘pure recollection’ in the place where it was, pure virtuality contained in the hidden zones of the past
as in oneself … “
Gilles Deleuze: Cinema II The Time-Image
“In this so-called new world order of automation, which is simultaneously hyper-complex and indifferent to
us, what the individual who feels threatened by “new maladies of soul” is asking for is to have a genuine
experience. And they grant authority to those who convey such experience. A person with experience is rare.
What I mean by that is someone who has made their journey to the end of the night, fully aware of the loss
of self but who succeeded in regaining his self. What flows from the words he takes from that experience is
knowledge. He is neither a guru nor a dry savant, but someone who both knows and is flesh and blood
into the bargain.”
Julia Kristeva: revolt, she said
“The colours of the mind, exited by a flower or the moon should not be seen as self at all, but we think of
them as our self.”
“Sage, Salvia officinalis, is perceived/distinguished as (a metaphor of) perpetual being/existence : one that
grows sage in the garden shall thus live forever!”