Ugo/eyemuseum

EYE MUSEUM PROJECT - NONLINEAR

After a couple of discussion, we decided to work around the notion of NONLINEARiTY.

Here are my first thoughts about nonlinearity:

What is nonlinear. What is wrong with linearity. Is it a conceptual tool, an ideology, a dogma, a trend, a narrative trick? Can we use nonlinearity as a tool, structure or system to represent the fluid character of space and time: the human experience. What are the relations between nonlinearity and linearity? Is nonlinearity a a deconstruction of linearity? Do we need to unlearn linearity for a more progressive and innovative approach that embrace the transformative nature of life / film form? For Sarah Bay-Cheng, "post-linear performance is less a rejection of linearity than it is the explicit acknowledgment of multiple, simultaneous, and competing linearities within and exceeding the domain of a particular performance." We could explore nonlinearity with philosopher Henri Bergson and his work on overlapping temporalities that relates to nonlinear and cinematic representation of time. For Bergson the structure of the mind is cinematic. Can we link Bergson with the stream of consciousness used by James Joyce's in his nonlinear-modernist novel Ulysses. Shakespeare was using a multi-plot episodic plays. Historian Fernand Braudel's work on historical time: plural temporalities, layered temporalities, long-term approach in the study of history. Sarah Bay-Cheng talks about a "post-linear" age.

How do we create a nonlinear audio-visual piece for a cinema projection. Can we really go out of linearity. Non-narrative and non-linear narrative>>

Project:

Research 01 Fixity & Fluidity

Research 02 Mobile phone

REF:

BAY-CHEUNG Sarah http://www.academia.edu/2131876/Pixelated_Memories_Theatre_History_and_Digital_Historiography