Mriganka: We were quite disillusioned with the disease of representation and misrepresentation, images of the conflict [in Assam, Northeastern India]. We were intrigued by the idea of cinematic consciousness which was introduced by Deleuze. Which is to introduce the world from different representations. What is important is what is missing, what is present. What is missing from what we see. And the nature of time: physical time, biological time.
Mriganka: People’s dreams always collide with the national notions of time, the national notions of borders. And so an outburst of situations are happening... World time dominating local time.
Sonal: Making these works is very therapeutic, and exploring the relationship of trauma with sound, perception, memory.
In a state of conflict, forgetting becomes a devie to cope with trauma. Out of these unstable histories emerge organic, dusty spaces.
Sonal: The forest itself is an archive of sounds. The forest is also an experience of time. Because since time immemorial, nothing has eben taken away from here. Around here most of the forests are pine. But here there is not even a pine tree. So this is primary forest.
Interestingly enough, silence is stillness - not the absence of sound but the potential for becoming a sound. 3 stages of sound were defined:
1) fundamental silence
2) original vibration
3) audible phenomena
Mriganka: How do we create this forest, export this forest without breaking a taboo? And this notion that every movement we make we is either trrritorialising or de-territorialising.
An image they find meaning in, that is useful - but they didn't explain why. At least, not in language I understood.