A particular course for the future has been set. Over the next year, I will take on a shared residency with Toronto’s Gallery TPW and Images Festival. Under the mentorship of Kim Simon, Curator at TPW, and Pablo de Ocampo, Artistic Director at Images, two major sets of questions will guide my curiosities.
The first centres on text-based cinema, which is moving image work where the use of the written word is conceived as integral to the formation of meaning acquired through the cinematic experience.
The moving image and the written word are both time-based media in that their reception as works of art requires passage. This passage, though, is distinct: whereas the moving image’s presentation of time is a somewhat passive experience for the viewer, the written word requires active participation for every bit of its revelation. Further, language invites the creation of meaning on behalf of the viewer, whereas cinema is, practically and inevitably, much more dictatorial. As Pierre Machery notes in his Theory of Literary Production, reading is a form of production that separates the writer’s intent from the reader’s explication.
Exploring the possibilities inherent in the cinematic act of reading, I wonder: If text itself is put in motion, is it possible to read anew? What might reading anew entail? Could setting text in motion be one way to dislodge language’s clichés? Can cinema complicate basic understandings of language as a system of closed empiricism?
Following through with these conclusions, I will explore the possibility of speaking difference by examining the points of tension that become visible when the authority of language is recalculated. By looking to the limits of language, I will consider the logic(s) that assign meaning, paying particular attention to the potential for disruptions.
Exploring new and adequate ways of thinking (and speaking) of, about and for the world we live in, and our lives within it, I wonder: How does meaning operate? What semantic relationships should be preserved, and which can be discarded? What social, political and historical factors are operative in the theories we use to understand the world and each other? What role does the curator play in reifying or confronting hierarchies of knowledge?