A time-based graph is used to an understanding of how the agents generate tendencies which then imply an evading force upon the surface. The void between the upper and lower forces os then actualized as the [a]vading space. Analysis of these tendencies notate that points along these surface which are most compressed indicate a time immediately prior to a dynamic change in avading abilities.
The second film unlike the first, has no awareness of an internal insurrection. It is because of this that the [a]vasions are often more succesful, and allows the insurrection to occur- thus leaving the viewer completely confused, such as are the characters. The task then became how do you map a time-based event, when the time has no logical reference. A dream entangled within an idealized real.
The first film that I referenced was The Passenger. The story of a man who was disenchanted by his life as is. Solution: to steal the identity of another via a passport. Unknowing of his future while on the constant run he (both) Mr. Locke and Mr. Robertson became an [a]vatar. All the devices which assisted in his [e]vasion defined the agents of his insurrection. They include:
His defunct life as a reporter
The passport
Inabilities to keep a 3rd world perspective
The dissenchantment of his marriage
The gunrunners
Love for the architect
The wife in search for Mr. Locke
The reporter in search of Mr. Robertson
The police in search for Mr. Robertson
To develop a closer understanding of this, I began to look at an insurrection at the scale of a person, specifically those who have insurrections with themselves something that reaches beyond the act of evading. The various forces which cause extensive strain on these characters often results in points of splintering. It is in this splintering that the true insurrection amongst oneself occurs. v. Just as [A]rchitecture, the [a]vatar exists in a romantic state. Its path not always certain.
Because an [a]vatar is an abstract condition of resultant forces it can be an it and not just a he or she.
Every insurrection contains degrees of uncertainty. Evading the counter forces is an active part of all successful insurrections. Unlike an escape, every evasion has a system of intelligence imbedded within, acting on cleverness or deceit. The outplay of these evasions often notate the story of an insurrection. Insurrections also operate at different scales. For example, the scale of a crowd or that of it’s city.
Shown here is an image form the opening scenes of
The Battle of Algiers.
