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Thursday, 18 October 2012




Within the concluding lines of The Remembered Film, Victor Burgin asserts ‘We rarely own thememories we are sold’. Here Burgin defines our personally remembered but collective created memories derived from the remotely viewed and remotely lived as a clandestine of capitalism, an entity peering out from behind the edges of the perpetuatingpropagation of the unlived but fondly recalled. This absorption of capitalism intothe supposed autonomously experienced memory finds itself formulated in thesubconsciously recalled images of an* entertainment. This form of entertainment, if it is to transcend thedividing line between the personally lived and the collectively witnessed toform a faux-lived in the audiences mind must continuously evolve itself intothe common language within that present era, it must become a language of a naturalentertainment. ‘Natural’ as all viewers must engage with theentertainment as the norm, the banal of the everyday and thus enabling theviewer to open completely to the entertainment image’s ‘POWER’. This‘power’ being defined in the unnoticed subjugation of the image into thepresent creation of the audience’s future recalled past. As one recalls truememories; A birthday party, a first kiss, glimpses of childhood holidays on amomentary impulse so must one now recall the gaze of ‘Grace’s Eyes’ (fig.1.)alongside those of the subject’s mother. The lived and unlived are thus rapidlyand subconsciously experienced in the mind of the viewer as one and the same,the viewer can no longer differentiate in those moments of spontaneous recallbetween her true lived past and that of a past sold.




*:Within the modern situ, this entertainmentexists in a cornucopia of format: Traditionally speaking; cinema, televisionand the advertisement but also as the second life of the videogame and theinfinite digital space of the internet in all of its articulations: from dériveon the digital streets of Tokyo, to images of friends at parties missed, toChris Markers Second Life haven ‘L’Ouvroir’ (2008), and beyond.)

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