EPTION
The installation of an exact replica of an AMC movie theatre in Emeryville, California in which a section of the end credits of Christopher Nolan's Inception will play, continuously looped, day and night, ad infinitum.
Against the backdrop of a precise moment of suspended time, the experience will lay the ground for a real moment of inception; a birth of the new. As Boris Groys describes the truly new as that divine thing that contains a ‘difference beyond difference’, he writes, “the only medium for a possible emergence of the new is the ordinary, the "non-different", the identical—not the other, but the same.”
This is the creation of an unending moment of sameness. The repetition of film credits atop Hans Zimmer’s surging, cyclical score find further exaggeration through the theatre itself which will be a reproduction of a real theatre which itself will necessarily be a reproductions of reproductions of other big box theatres. Likewise, the film print will be a copy of copies; all of them common canvases for public dreaming.
Inception, a film whose plot revolves around the conflation of dream and reality, is the foundation of the loop. It questions whether or not inception — in the diegesis of the film, the planting and thus origination of an idea — is possible from the outside. Described as a seed which only finds purchase if the person believes it is their own, an idea is given protection through paradoxical-real dream architectures that simultaneously suspend and support reality-impossibility. This theatre would be the actualization of such a structure, and thus the construction of a site in which new ideas can emerge.
The repeating moment, the beginning of the end credits of a movie — a moment which always seems to drag endlessly on — is at the heart of the piece. It will be drawn into focus as a unique yet ubiquitous point of reflection: a liminal state between dream and waking, between the suspension of film and the finitude of life outside the theatre. In reversing the visitor’s temporal situation and forcing them to enter just as a movie seems to be ending, we will insert them actively into this interstitial space and allow them to exist in an eternal state of transition in which there is infinite time to contemplate, imagine, and enact the fertile moment in-between dream and reality.
It is here, against endless sameness that the viewer themselves will engender the new, come into being as the new. As Ariadne describes the dream state in Nolan’s screenplay, “No paper, no pens... nothing between you and raw, direct creation.”
EPTION
The installation of an exact replica of an AMC movie theatre in Emeryville, California in which a section of the end credits of Christopher Nolan's Inception will play, continuously looped, day and night, ad infinitum.
Against the backdrop of a precise moment of suspended time, the experience will lay the ground for a real moment of inception; a birth of the new. As Boris Groys describes the truly new as that divine thing that contains a ‘difference beyond difference’, he writes, “the only medium for a possible emergence of the new is the ordinary, the "non-different", the identical—not the other, but the same.”
This is the creation of an unending moment of sameness. The repetition of film credits atop Hans Zimmer’s surging, cyclical score find further exaggeration through the theatre itself which will be a reproduction of a real theatre which itself will necessarily be a reproductions of reproductions of other big box theatres. Likewise, the film print will be a copy of copies; all of them common canvases for public dreaming.
Inception, a film whose plot revolves around the conflation of dream and reality, is the foundation of the loop. It questions whether or not inception — in the diegesis of the film, the planting and thus origination of an idea — is possible from the outside. Described as a seed which only finds purchase if the person believes it is their own, an idea is given protection through paradoxical-real dream architectures that simultaneously suspend and support reality-impossibility. This theatre would be the actualization of such a structure, and thus the construction of a site in which new ideas can emerge.
The repeating moment, the beginning of the end credits of a movie — a moment which always seems to drag endlessly on — is at the heart of the piece. It will be drawn into focus as a unique yet ubiquitous point of reflection: a liminal state between dream and waking, between the suspension of film and the finitude of life outside the theatre. In reversing the visitor’s temporal situation and forcing them to enter just as a movie seems to be ending, we will insert them actively into this interstitial space and allow them to exist in an eternal state of transition in which there is infinite time to contemplate, imagine, and enact the fertile moment in-between dream and reality.
It is here, against endless sameness that the viewer themselves will engender the new, come into being as the new. As Ariadne describes the dream state in Nolan’s screenplay, “No paper, no pens... nothing between you and raw, direct creation.”