Towards Unordering and Doubt

<sub>Doubt, put precisely, is a powerful thing  

John Berger</sub>

                    T

                                                  This film (indirectly... kind of) tries to think about western society’s adopted notions of the great historical narrative -- a longer lasting (macro-)politics -- how we think about landscape -- and the one-thing-followed-by-the-other notion of time we live by. This is done through the lens of protagonists within protagonists  

    .    A forgotten Roman wall by a car park IS consumed by an old railway viaduct

        ..  A series of atlases with colonial ideology within their painted ‘cloud’ forms

            ...    An endless network of mosses, lichens and liverworts that mutter historical accounts to each other, and a researcher with a scanner.


With documentary and fiction-film elements, it is an essay film (of sorts) that infers literary and cinematic traditions (yawn) to combine lyrical reflection with slow and poetic images.

The film also draws on a project made from 1924 called The Mnemosyne Atlas by historian and theorist Aby Warburg. The Atlas was a radically different way of looking at history and a kind of proto-cinema. It essentially consisted of photographic reproductions of paintings, etchings, other visual relics of the past... on large black panels. Yet they were also organised 'sensuous-intuitively’ - or without order, without linearity ----- jumping back and forward in time 
                                           
                                                                                                                                ***




ections