Tell me about “Encyclopedic Sequence”
A little account of the personal engagement I’ve had with “Encyclopedic Sequence”, and how a line of inquiry was slowly beginning to be built in the process will, perhaps, help place the work in a debate, and continue generating further questions. Let me start by saying that “Encyclopedic Sequence” confirms my interest concerning the “camera obscura”, but specially its relation to questioning the nature of its role in the construction of contemporary knowledge. In earlier works of mine, the “camera obscura” was presented as a living habitat, the “home sweet home” of today’s subjectivity. In fact, the intent, all along, was to show the ubiquity of the visual regime, and the unsuspected considerations that such omnipresent structure could have in our daily experiential routines. The delicate indetermination that exists between the autonomous and the automatic, the volitional and the dependent, the proactive and the reactionary, influenced all those considerations, and sent them on a different route. Here, the figure of the puppet that shows its symptomatology only in what is false, in short, what is truly his, comes to play an important role. I must confess, for me, the visual is the purely paranoiac. It is constructed on the evidence of distance, separation and antipathy. Its anticipation of facts conditions the rest of existence building an economy of expectation, a watching out that insures, or so it hopes, an advance of what is to come. The force of knowledge, I guess, is in foreknowledge.