HER– I am not sure how this is supposed to work... I– Can I see it? Audience I
Does this have something to do with it? HER– If you look at it from this side it seems to be invisible.
It’s not that easy to comprehend. Audience I
And from this angle you are looking at something
that is not there. It’s like some spatial intervention
that is invisible to the public. I– Yeah but a select public is granted this short and
restricted glimpse inside. HER– Although for most of the audience here, it still
remains unseen. It demands allot of attention, no? I– Somehow it won’t quit disclose everything. While it
plays to all members of the audience it sits between
comprehension and confusion. Audience II
Are you suggesting there is an aura of dramatic
mystique behind it? I– Not really. I mean I do not think there is a new
perspective of beauty. I think it is much more enjoyable
to be reminded of the past but to feel first and foremost
that you are seeing something new. HER– This obscurity invites scrutiny, so it is important that
it is displayed in all clarity. Audience I
One must be mindful of the fact that it occupies
various viewpoints that refract its exposition. I– Sure, it is touched by a fair amount of unexpectedness,
which is what many of us like to think of as essential to
life. There is an embodied and somewhat automatic
“knowledge” to it that functions like peripheral vision, not
this studied contemplation. Audience II
So are you suggesting there's a disparity between what
one believes and what the underlying truth is... HER– Everyone seems to be continuously modifying their
preconceptions from a logical but unpredictable chain
of ifs and thens. Do you think there is a blatant meaning
yet it is somehow covert enough to find a hiding place. I– Its power lies in the fact that it operates upon us in a visceral
sense. Pulling us towards this moment. The audience is in
pursuit of a motive that would give them some distance
and perspective. Audience I
There is a resistance towards representation. It is like it
is trying to destroy or at least, to deconstruct the image
with the goal of replacing it with the invisible. I– You know its true. When something exceeds your ability to
understand how it works it provokes the magical. I was
thinking of it as this watery signifier that has through
accumulation assumed such a scale that it certainly must
mean something. HER– Within the shadow and blur of all those particular things
we start to lose sight of them, perhaps, they are in some
curious way part of us, as we are part of it. I think Nietzche
talks about how “seeing becomes seeing something.” I– If we pursue it further, however, and try to pin it down, it
repeatedly escapes our grasp through a set of evasive
maneuvers. An inside and an outside, a potential, that is
simultaneously there, saying nothing. Momentarily holding your
attention by suggesting the obvious parallel with the “invisible,”
with its promise of flexibility and dynamism. Audience II
Its a formless flexibility, that suggests movement, yet it does
not budge. This flexibility encourages people to participate
in the creative process of “seeing” and “being seen.” I– What is the point in demonstrating it, we don’t need to prove it
as it is considered to be self-evident. Therefore, its truth is
taken for granted, and serves as a starting point for deducing
and inferring other truths. HER– Something is not explicitly stated but it is implied in your tone. I– You’re definitely an individual type. Well I mean you don’t seem to
succumb to the atmosphere. HER– You seem to be only concerned with questions of size, shape,
relative position of figures, and the properties of space. I– Do you believe that knowledge is a subset of that which is both
true and believed? HER– There is no right or wrong decision, thought or practice, and
whatever choice we make is just as meaningless and empty
as any other choice we could have made. |