Thesis Info

Thesis Title
Screenplay, Unresolved Opposites
Iris Tenkink
2nd Author
3rd Author
MFA Art Writing
Number of Pages
Goldsmith University London
Thesis Supervisor
Adrian Rifkin
Supervisor e-mail
Other Supervisor(s)
Yve Lomax
Language(s) of Thesis
Department / Discipline
Art Department/ Art writing
Languages Familiar to Author
English, Dutch
URL where full thesis can be found
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.