This article addresses the role of memory for the itinerant as repeated negotiations take place between geographical location and reminiscence. The meaning of ‘home’ is considered in relation to space/place and time as fragmentary transmutations periodically enable a sense
of momentary personal cohesion. As these are temporary transmutations, or states of cohesion/consolidation, the itinerant remains ever in a state of flux, continuing to shift and change as self-recognition occurs through accessing the store of memories and through articulating the past ‘home’
in relation to the current site of location or domicile. The writings of Breyten Breytenbach, Michael Jackson and Irit Rogoff, amongst others, will be used to investigate discussions on the meaning of ‘home’ and exile. The final part of the article will focus on three performance
works, Rituals for Momentary Cohesion (1998–2002), whereby a negotiated form of consolidation is sought through the action of the body within the interior space or landscape.
This article discusses encounters occurring between the hand of the artist and filmmaking processes that may bypass the intellect, identifying themselves through intuitive modes of production to reveal integral relationships between film form, materiality and content. In this way the results of non-human agency, registered within film chemistry and processes of production -physical, intellectual, 'spiritual', (un)conscious -interact as the filmmaker takes an idea from conception to projection. Jane Bennett's theorization of 'vital materialism' is important for investigations (2010), as is the role of chance discussed by William Kentridge (1993), whereby deliberations include the fortuitous manifestations occurring as encounters between hand, page and camera coalesce in the production of films.
Additionally, approaches are informed by VilémFlusser's description of the photographer as a 'Functionary: 'a person who plays with apparatus and acts as a function of apparatus' (Flusser 2007, p.83). This is, arguably, equally pertinent for the cinematographer/animator/artist who can 'creep into the camera [and processing/editing equipment] in order to bring to light the tricks concealed within' (Flusser, p.27).
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