some reflections on project three


the splicing of audio and visual information along the exploration of continuity and discontinuity is a challenging project. Since we experience life in fragments or moments and reconstitute them in the passage of time (history), the conscious project of deconstructing and reconstructing images that are already intensely edited becomes difficult.  What choices can we make to illustrate that rhythms and modalities that make up our perceptual faculties? To what extent are these choices effective? What are we trying to talk about? Is it even relevant to ask which, if either continuity or discontinuity are more conducive for a less alienating experience?

Both these conceptions and productions of time are useful tactics, perhaps even contingent strategies, depending on the issue at stake. For instance, it is too simple to say that given the hyper-saturation and mediation of our contemporary (post)modern experience that continuity correspondingly becomes the suitable alternative in opposition to the discontinuity normalized by our environments. While discontinuity and fragmentation are benchmarked as the quintessence of our experience, a meta-narrative is still being told and enforced. There is a perpetual dynamic between broadly speaking the singular and the multiple – universality and difference…


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