[ Pobierz całość w formacie PDF ]
Sektor nr. I er øverst til venstre, pila går mot høyre og ned, gjennom sektor II og II, før den
ender rett undre der den startet, i sektor IV.
Space står til venstre og beskriver sektor I og IV.
Time står til høyre og beskriver sektor II og III.
((figur 2 slutt))
2) A second difference between being established (a state) and operating (a production and a
transformation) is combined with the first. It plays moreover on an opposition between the
visible and the invisible, without exactly corresponding to it. Along this axis, one finds the
following paradigmatic sequence: given a visible establishment of forces (I)
((85))
and an invisible fund of memories (II), a punctual act of memory (III) produces visible effects
in the established order (IV). The first part of the series is composed of two factual situations,
in which invisible knowledge escapes visible power; then comes an operational part. By
distinguishing between the being/ operating cycle and the visible/invisible cycle one arrives at
the following schema:
((figur 3))
Figuren likner en urskive, akkurat som figur 2, beskrevet på forrige side (s. 84).
Being står øverst og beskriver sektor I og II
Operating står nederst og beskriver sektor IV og III
((figur 3 slutt))
((figur 4))
Også denne figuren likner en urskive, akkurat som figur 2, beskrevet på forrige side (s. 84).
Invisible står øverst men beskriver kun sektor II
Visible står nederst og beskriver sektor I, IV og III
Merknad: Visible betyr antagelig sansbar , jamfør brødteksten.
((figur 4 slutt))
((tabell))
A summary tabulation of these elements yields:
Merknad: Kolonnene viser fire kategoriene I, II, III og IV. Radene viser Time , Operation
og Appearance . Hver celle viser om den enkelte rad-kategori og den enkelte kolonne-
kategori er forenelige. Nedenfor er hver av disse kombinasjonsmulighetene angitt.
(I) Place / Time = Nei
(I) Place / Operation = Nei
(I) Place / Appearance = Ja
(II) Memory / Time = Ja
(II) Memory / Operation = Nei
(II) Memory / Appearance = Nei
(III) Kairos / Time = Ja
(III) Kairos / Operation = Ja
(III) Kairos / Appearance = Ja
(IV) Effects / Time = Nei
(IV) Effects / Operation = Ja
(IV) Effects / Appearance = Ja
((tabell slutt))
Memory mediates spatial transformations. In the mode of the "right point in time" (kairos), it
produces a founding rupture or break. Its foreignness makes possible a transgression of the
law of the place. Coming out of its bottomless and mobile secrets, a "coup" modifies the local
order. The goal of the series is thus an operation that transforms the visible organization. But
this change requires the invisible resources of a time which obeys other laws and which,
taking it by surprise, steals something from the distribution owning the space.
This schema can be found in any number of stories. It is, as it were, their minimal unit. It can
take a comic form in the memory that, at just the right moment, reverses a situation. In the
exchange, "But . . . you must be my father!" "Good God, my daughter!," we see a pirouette
due to the return of a time that the spatial distribution of the characters did not know about.
There is a whodunit form in which the past, by coming back, overturns an established
hierarchical order: "He must be the mur-derer, then!" The structure of the miracle has a
similar form: out of
((86))
another time, from a time that is alien, arises a "god" who has the characteristics of memory,
that silent encyclopedia of singular acts, and who, in religious stories, represents with such
fidelity the "popular" memory of those who have no place but who have time "Patience!"
With variations, each repeats the recourse to a different world from which can, must, come
the blow that will change the established order. But all these variants could very well be no
more than the shadows enlarged into symbolic and narrative projections thrown by the
journalistic practice that consists in seizing the opportunity and making memory the means of
transforming places.
A final point remains to be determined, the most important one: how does time articulate
itself on an organized space? How does it effect its "breakthrough" in the occasional mode? In
short, what constitutes the implantation of memory in a place that already forms an ensemble?
[ Pobierz całość w formacie PDF ]