[December 8th 2020]
divisible or measurable as a succession of ‘moments’. A still photograph, or even the rapid succession of still photographs which make up a film, tries to give an illusion of time as something we can control, pause, and rebuild. As the word ‘waterfall’, a noun squashed into a verb, suggests, though, three dimensional things within the fourth dimension, time, are always already ‘going on’, are tesseracts of themselves, and our frames of reference are a kind of fiction that we impose upon the world. By dividing up his film across the final days of 2020, and by playing it in
Michel de Certeau, The Practice of Everyday Life, 1984
In this incisive book, Michel de Certeau considers the uses to which social representation and modes of social behaviour are put by individuals and groups, and describes the tactics available to the ordinary person for reclaiming autonomy from the all-pervasive forces of commerce, politics, and culture. In understanding the public meaning of ingeniously defended private meanings, de Certeau draws brilliantly on an immense theoretical literature —analytic philosophy linguistics, sociology, semiology and anthropology—to speak of an apposite use of imaginative literature. His work thus joins the most demanding and abstruse of scholarly analyses to the humblest concerns of men and women who are simply trying to survive while retaining a fundamental sense of themselves.
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