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c i n e s t h e s i a
the art of forgetting ...
the
cinema leaves us with a vast
number of impressions - in its
texts, through its participants
- a multitude of regenerative
fragments in a visual
language of images that
avails itself to the mind ...
this information we process
through a flickering
interiority, assigning the
unnecessary the coda of
forgetfulness ‘I screen off
what I have seen, cover it
with a film that’s completely
opaque and impenetrable ...
after each spectacle I
mentally gather up the film
and crunch it into a ball, its
detritus peeling off and
gently floating to the ground’
video gives us the banality of
everything: untrammelled,
unthought about, unedited ...
what remains finds form:
framed, graphic, always
partial, precariously concrete
... it was like being in a
Godard film ... the point
where phenomena, the
residue of emotion and
cinema coalesce ... grids of
(self) reference, matrices of
the real and already having
experienced, in mind, as
memory (forgotten as
retained), as cine, as
cinesthesia.
cine
is a film, of that i am
convinced ... in regulating the
form and movement of each
of its consonants and vowels
with instinctive rhythm and
montage a sequence for cine:
the film is invented i reserve
all the rights of translation
the opening scene is C ... c is
rouge, marks on a road map
where the journey begins,
traversing sharp bends,
entrances and exits: a chase
... it is also sight affected by
lack of sleep, exposure to
harsh light ... sometimes it
seems that you can’t get past
c and you revisit the same
place in a continual repetition
I is therefore relief ... it is
noir/blanc the line/dot
configuration, the basis of
representation ... it is
comforting like a perfectly
infused cup of tea ... the plot
develops and when in I its
reassuring nature is always
short lived sometimes there is
insufficient light to see I and
n is just around the next corner
N is vert, harsher, more akin
to the brutality in nature: a
withered tree standing
adjacent to a hill covered in
wispy grasses, a place of
confrontation, desolate space,
desperate solutions
E provides the film with one
of those open-ended
narratives it is bleu, azure, a
vista not a void it is one of
those forgotten colours of the
Adriatic sea and through its
looking glass the credits roll
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