“Waves make diffraction patterns (think of the pattern made by dropping two stones in a still pond, for example) precisely because multiple waves can be in the same place at the same time, and a given wave can be in multiple places at the same time.”1
As a river flows across its floodplain it curves, bends, loops, winds, laps against, changes path, rushes, turns, wells up. Whilst migrating downstream meanders effectively lengthen the course of a stream; in ancient Greece a meander came to mean anything convoluted or tangled. Thinking of meander belts later on suggested a contemplation of wavelengths, waveforms, amplitudes, magnitudes, seismic waves, shock waves and blast waves. Straight lines break, processes are protracted, resonances are amplified.
Since the beginning of 2019 I have been working on an expanded, multi-part iteration of the project that recently took shape in a solo exhibition at the National Museum of Contemporary Art, Bucharest.2 As I mentioned in the first chapter of this exposition the driving force behind de-constructing and (trans)forming the essay film four years after its completion was the wish to renegotiate the material, its capacity and scope, and to read the structural elements of the essay film through a lens of diffraction. In other words, to see it otherwise. Gleaning further relationships from the existing material and building upon the process was a repetition of another kind. The expanded notion of parataxis, which is a mode of storytelling characteristic to the essay film, is here re-thought spatially, in its potential for reversibility. Threads of affinities and correspondences grow wider apart in the installation as they multiply; a single linear timeline no longer conditions its form.
The systematic-unsystematic pattern of arrangements in the essay film finds its counterpart in the spatial articulation of the different elements in the installation. Tending, then, towards a historical understanding of a more