Mundane: Thinking through All This Can Happen

Gareth Evans

doi:10.18061/ijsd.v7i0.5451

Abstract

What if… a text (Walser’s Walk) becomes image and sound and movement and new, and then becomes text again? This writing reflects on how images make history, now, on editing as placement and embodiment, on things bearing witness to things which must be borne witness to, and on rabbit holes of frames that might conjure up the world.

Highlights

– Samuel Beckett1 Always there is the war
“[A]s if I saw it for the first time ...”2 A jumping girl waiting to land on her own shadow; even if only that, a world, but a world becoming “modern,” becoming its own image through immediate reproduction, faster than the most of people can, what, keep up with
Qualities of the “positive” or “negative,” of happiness or regret, anger or longing, are less important than the fact that they are all endowments of the living, of the undeniably existent. This passage—of the writer/walker and the finder/film-makers—is equivalent in each medium, in each transaction, with the multifarious. It is this rigorous, shared intention that grants All This Can Happen its potency; and it is, as noted, undeniably choreographic in intention and realisation: bodies engaged in all the movements of the daily, writing their chorus dance into the mornings, afternoons, and dusk—that is the single doorway into every ancient evening

Summary

Introduction

– Samuel Beckett1 Always there is the war. The war and the bodies it makes. Which is why a walk, in the midst of working hours, as the medium of encounter, is already a subversion, an oppositional proposal.

Results

Conclusion