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Concerning ConsequencesStudies in Art, Destruction, and Trauma$
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Kristine Stiles

Print publication date: 2016

Print ISBN-13: 9780226774510

Published to Chicago Scholarship Online: September 2017

DOI: 10.7208/chicago/9780226304403.001.0001

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7:47 a.m. (The Traumatic Visual Vocabulary of Maurice Benayoun’s So.So.So. Somebody, Somewhere, Some Time) (2011)1

7:47 a.m. (The Traumatic Visual Vocabulary of Maurice Benayoun’s So.So.So. Somebody, Somewhere, Some Time) (2011)1

Chapter:
(p.339) 7:47 a.m. (The Traumatic Visual Vocabulary of Maurice Benayoun’s So.So.So. Somebody, Somewhere, Some Time) (2011)1
Source:
Concerning Consequences
Author(s):

Kristine Stiles

Publisher:
University of Chicago Press
DOI:10.7208/chicago/9780226304403.003.0020

This chapter examines Maurice Benayoun's futurological imaging of trauma in virtual reality by focusing on his 1992 interactive installation So.So.So Somebody Somewhere Sometime. So.So.So. takes place at 7:47 a.m., the precise moment when, according to Benayoun, “everything starts to go awry...in a crisis-ridden world seeping into our daily lives.” The time 7:47 a.m. is “Time,” which functions as a verb in the title. It ignites simultaneous but different experiences in three locales: Paris, Rungis, and Praslin. The accumulation of historical time pervades So.So.So. as adverbial and adjectival emphasis for how Benayoun uses the English word “so” to facilitate the work's repetitions and interruptions. The flashback and the palindrome are central to the traumatic visual and psychical operations of So.So.So.. The chapter considers the psychological processing of the fragmentary dynamics of traumatic memory in So.So.So..

Keywords:   trauma, Maurice Benayoun, virtual reality, interactive installation, historical time, flashback, palindrome, traumatic memory

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