Abrasion (Mapping of Basinski): Spatial Memory Structures in Grant Gee’s “Patience (After Sebald)”, Paul Bush’s “Babeldom” and Sophie Fiennes’ “Over Your Cities Grass Will Grow”
Abstract
Time in a film text can be compared to the “blind spot” of the camera. Although this medium is inextricably linked with transformation, “temporality” – unless it is included in the title of the film or expressed by technical solutions (acceleration, deceleration of the film) – is usually “translated” into the space in the frame (Deleuze’s time-image, Bergson’s duration). However the cognitive apparatus creates an abstract concept of time in order to tie together diverse phenomena: bodily and natural cycles, entropy and memory ordering events in time. Using the analogy of William Basinski’s tapes, that disintegrate gradually with each playing, in this study Stasiowski chooses an alternative approach and focuses on films that deal with time using models of spatial memory, that appear to rely on architectural representations of time (places marked with decay). In fact, through them, adequate narrative structures are constructed, in which time becomes a variable of memory as a function.
Keywords:
William Basinski, memory, Grant Gee, Paul Bush, Sophie FiennesReferences
Holl, Steven. 1996. Interwining. New York: Princeton Architectural Press.
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Authors
Maciej Stasiowskikwartalnik.filmowy@ispan.pl
Jagiellonian University Poland
Student trzeciego roku studiów doktoranckich w Instytucie Sztuk Audiowizualnych Uniwersytetu Jagiellońskiego. Przygotowuje rozprawę na temat dynamicznych metod reprezentacji wizualnej (w tym filmu) w eksperymentalnych projektach architektonicznych. Publikuje w „Ekranach” oraz „Archu”. Autor książki Atlas rzeczy niestałych. Strategie, struktury i chwyty literackich metafikcji w twórczości Petera Greenawaya (2014).
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