NOTES ON PRODUCTION/TEMPORALITY

What follows is some text that was generated while the New Manifesto of the NewLights Press was being made and written. It is a couple of attempts to describe the metonymic, repetitive chains that turn the gears of “the book.”

The book, as it commonly appears, is a repetitive, rhythmic structure. It is built out of a series of overlapping, synchronized, chains of movement. The text moves from letter to letter, word to word, image to image, sentence to sentence, paragraph to paragraph, chapter to chapter. The book itself moves from page to page. The meaning produced from this reading-movement is of a staccato linearity, flickering, gathering in density at certain points, thinning out at others. Meaning is at once explosive and implosive, connecting out and gathering in.

The book, as it commonly appears, is a repetitive, rhythmic structure. On one side, its inherent temporality seems to make some kind of narrative structure or progression unavoidable—the book, like time, passes. It is (structurally) finite, possessing a clear beginning, middle, and end. We, as readers, expect a book to “take us on a journey.” We, as readers (and viewers), expect books (and all other art) to do what we expect.

But the book, while locked into its endless progression towards the end, constantly frustrates its own temporality by staging exactly the same event over and over again. Each page turns the same as the last. Imagine a story describing, physically, a person reading a book. Could it even be a story, with each occurrence exactly the same as before, maybe slightly recontextualized each time? [footnote 5] The repetitive structure of the book, of its reading, undermines its own progression, nullifying and occupying time at the same time.