the inside and the outside and the secret of the fear of the fear
“It is true, part of us has disappeared, but reality itself remains. The fact that, today, we can say that the geography of the outside has changed, that the outside no longer exists, that we are all enclosed within, means that, at the same time, the outside is everywhere. But we should have to be able to divide the division to recover what is left.
It is a trap we accept and that maintains the fiction of ‘this totality’ which paralyzes us as much as it amputates a part of us. And thus we are not, not even sentimentally, without strength and courage in our zeal to maintain a worrying normality which we have not really chosen.
(…) this is the reason why what we can still recover no longer concerns ourselves but our remains; I believe this is the only hope we have for simply making use of our lives. For we can no longer separate ourselves from what is incrusted within us. We can no longer lose ourselves, because we are already almost no longer here. However, we can try to abandon ourselves there where we are shattered in a thousand pieces and perhaps recover our outside. and i am not in a position to say whether, in this case, the form does not come anymore than it leaves.” (alejandra riera, enquiry into the/our outside)
(reading through old notebooks, looking for things to hold on to, lines becoming blurry, the summer dissolving in front of our eyes..)
Posted by f | reply »理变奏曲 variations on lǐ
filmed in new york city, autumn 2006. summer 2008 finally got around to… thank you sim-chan and aka-chan and D-chan!
Posted by 丫 | reply »like summer in fall
We made a movie. The actors had to act like it was a high summer day, but it was cold and above their heads birds were migrating south. What’s not apparent is invisible. Hopefully.
Posted by lucio | reply »falling and falling (and hanging on)
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a few days later
code inconnu - incomplete takes of several journeys
is truth the sum of what we see and hear?
can reality be represented?
to the observer, what makes the represented object real, credible, or more precisely, worthy of being believed?
what is the responsibility of the puppet master if the puppet perfectly imitates real life?
in the world of moving pictures are illusion and deception twins or merely closely related?
are the answers lies?
are the questions answers?
is the fragment the aesthetic response to the incomplete nature of our perception?
is editing the simulation of the whole?
is precision an aesthetic or a moral category?
can illusion replace description?
is that which is off camera more precise than that which is on?
michael haneke, from the commentary on the dvd, “an attempt to try out some of the solutions that one might put forward”.
no matter how bright, the crossing always occurs at night
