Juxtaposition & Continuity VS Instant Nuggets : an efficient Art Pattern

When I find a structure like this, an Art-Pattern, I’m as happy as a kid who found a colored beetle under a rock. Here it is :

ONE

In the bonuses of the war movie Dunkirk, C. Nolan explains that he want to puts tension and stress in the audience. Firstly, he does it the normal way, with the story and its continuity/proceedings (suspense, following action, etc). Secondly, he wants that every little part of the movie to be stressful “in itself”, in the way it’s done at the moment (with sound, music, cut, etc). Cut 5 seconds randomly in the movie and bite your nails!

Dunkirk as a MAYA & Strangeization sensorial experience

TWO

The day before, I was reading an article in the train (there’s some bliss to read in a train) written by Paul Valéry about Marcel Proust‘s masterpiece “In Search of Lost Time”. He says something I already noticed & told you about : if the novel is great from its “stories”, you can pick ANY PAGE in the thousands, you’ll find a great idea. In each page, there’s a seed…

Proust was a blogger…

THREE

I bought two photography books last week. Stephen Shore‘s Uncommon Places (in USA) and Raymond Depardon‘s Habiter en France (“To live in France”). At first I was not that impressed by Depardon’s work. Shore’s photos are so gorgeous you can melt your brain into them, like in front of a painting. With Depardon in France, you have a little parking place, a road, a church. It’s touching, but it is almost “just ordinary”. BUT…

Watching many of them, though, you begin to understand there are patterns (like juxtaposing modernity and “old France”) : the pleasure is not in each photography, but in what you find when you watch many of them…

“Why do you live in this place?” – Shore & Depardon

Stephen Shore, mesmeric #Photographer

PATTERN/TOOL

How could we call that? There are two tools presented here, and I admit I’ve been amazed to notice them in a single week, in three differents Arts (Movies, Literature, Photography).

What could we say about this in Architecture, Poetry, Teaching? What about weaving them? Are artists aware of that? What could it bring them to be aware? Where is the efficiency? Can the artist offer a clue on more discreet propositions? What do you prefer? What is the more satisfying? To focus on each little part (moment, second, page, verse), or to focus on the proceedings, the long development of a piece? What other questions does it trigger?

Thanks for reading!

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Instagram : beautifulbizarremagazine

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