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Renee Gladman
Will Rawls
Theresa Hak Kyung Cha
Allison Parrish
JJJJJerome Ellis
Sarah Rara
Luke Fischbeck

“People will never believe you are ‘without events.’ And that is why decay is slow, and why it is not devastation.” (1)

Intervals are what a threshold makes, a here and there, (held) in suspension, a distinction (telling the difference), undifferentiated (holding difference), without separation, a crossing, where limits meet, anticipation (a margin to move in), body horror (I’m an alien), reperforming events, switching (logic), binary, alternating, lenticular, talking back, the transformation of silence into language and action, some temporalities (for sure), stop motion, flicker, duration, bracketing, the suspension of judgment, the withholding of assent, the preconditions, the prior logic, intersection, coincidence, suture, stitch, montage, cut, rupture, glitch, break, gap, clearing, hesitation, some kinds of waiting, losing control, building community, falling in love, between thought and speech, between speech and act, between action and listening, between memory and futurity, between what’s in my head and what’s in yours, side by side, boundary objects, parallel selves, the fantasy of continuity, a movement between the pieces, fragments of actual energy, time away, life, a long take, notes in a chord, frames in a film, unnatural bridges. “Allegory, here, is material,” Ian White wrote: “An interval, occupied.” (2)

“Intervals”, Trinh T. Minh-Ha observed, don’t “bring about any tremor like ‘passion,’ ‘death,’ or ‘love.’” It’s thanks to intervals, however, that “a direct relation is possible: a relation of infinity assumed in works that accept the risks of spacing and take in the field of free resonances—or, of indefinite substitutions within the closure of a finite work.” (3)

A barely-perceptible interval is space enough for holding movement between pieces that have been cut apart or never really touched, whose relation is latent or obscured. We will approach “intervals” as tainted binaries or boundaries: before and after, bodies and spaces, events and images, internal and external, spoken and thought, original and translation. Forms to explore include traveling in time, interpolating (imagined continuities), waiting (pausing, anticipating), transducing (moving across one medium into another), flickering, hovering over, pivoting on, or crossing of thresholds, pushing sequences out of order, ambivalence, and self-contradiction. Intervals show a special kind of coherence across duration, distance, or difference. Intervals are the mechanics of memory and representation, the choreographies of reconstruction, where fiction and testimony are glued together to assemble critical, speculative, fabulous histories. 

“There is almost not an interval. For a very long time everybody refuses and then almost without a pause almost everybody accepts. In the history of the refused […] the rapidity of the change is always startling.” (4)

The whiplash of recognition!

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(1) Renee Gladman, The Ravickians
(2) Ian White, “What is Material?”
(3) Trinh T. Minh-Ha, “Beware of Wolf Intervals”
(4) Gertrude Stein, “Composition as Explanation”