record

Thesis Info

LABS ID
00404
Thesis Title
Screenplay, Unresolved Opposites
Author
Iris Tenkink
2nd Author
3rd Author
Degree
MFA Art Writing
Year
2012
Number of Pages
18
University
Goldsmith University London
Thesis Supervisor
Adrian Rifkin
Supervisor e-mail
Other Supervisor(s)
Yve Lomax
Language(s) of Thesis
English
Department / Discipline
Art Department/ Art writing
Languages Familiar to Author
English, Dutch
URL where full thesis can be found
Keywords
post-representation, figural, entropy, spatial temporal act, non-division, heterogeneous, sublimation, film, stageplay, Ionesco, Marguerite Duras
Abstract: 200-500 words
Part 1 AT RISE: This is a journey towards an image, … through stages, and in variations. I'm writing about the reading of a chaotic fertility of everyday life, and the process of editing as a spatial temporal act, a medley of components that brings to us an image of the figural. The figural is not figurative, it is an abstract image produced from a reading of concrete fragmentary information. The image of the figural is the essence of the phenomena of what it consists off: the whole and its parts. It is an image of totalization. The figural carries within itself its own otherness, the destabilizing force entropy. The dichotomy of figural [totalization] entropy [demise] functions not as a binary opposition but as a ?non-division' (1). They are unresolved opposites. One is not the result of the other, but dual forces at play, creating a constant tension within the workings of an apparatus. (Apparatus here meaning: 'the functional processes by means of which a systematized activity is carried out' 2) What I will call “figural-entropy” is a tension of balancing forces. The figural that strives towards a production of equilibrium while entropy proceeds towards chaos. The collapse of hierarchy in binary opposition creates a new possibility. Freed from the Aristotelian principle of non-contradiction: 'Something is what it is, or it is nothing' (3) opens up another possibility, a space where the plural of binaries can be produced. A collapse of hierarchy in oppositions, of a primary (poetic) and secondary (critical) text into a plural (intertextuality) of a heterogeneous image. I propose a reading of the “figural-entropy” not as linear narrative but as a spatial temporal discourse. A fractured space organized in time that draws together a composition of components into an (heterogeneous) image of 'world taking place' (4). I will stage the “figural-entropy” as a gestural space, a theater where the ordering of shifting components can function as a spatial-temporal play.