The Potential Contemplative Room in Room 23, A cognitive Pragmatic Approach
Dr. Mohammed Sameer Abd Elsalam
Art Critic and Literary Critic
Today, I will write again about consciousness, subconscious, stream of consciousness and the new aesthetic contemplative tendency in experimental cinema, and I will write about the short experimental film entitled Room 23 by the director Amy Azzopardi.
The film’s open pictorial and narrative discourse is based on the multiplicity of aspects of self-identity, the richness of its possible metaphorical and functional sites in the potential intertwined stories, the creative overlap of sounds and spectra that may represent the sounds of memory, dream, Lucid and the dynamic sounds of literary imagination in the structure of presence, the dialectic of presence with the stream of images and sounds, and the surreal inner connection between the self and things; such as the connection between the heroine and the surreal dreamy rose, or the red drink in which the overlap between times appears, and the heroine’s black dress reflects the richness of the worlds of the unconscious and the new contemplative aesthetic sensitivity that dives inward, and mixes the self with the universal and possible spaces or spectral characters.
Consequentially, the film is consistent with the current cultural context, which includes the rise of expansion in the dynamic construction of open interconnected constructions between dreamy, virtual and cosmic images, the rise of contemplations of circular instant consciousness, and the exploration of possible mental and metaphorical spaces.
We can read the first communication model in - the film discourse - between the creator of the semiotic content and the recipient through the theory of relevance according to the pragmatic conception of both Sperber and Wilson; where both the creator and the recipient select relevant elements in the communication situation, and context indicators; and these elements here are the multiplicity of self-possible functions, the richness of awareness of sounds and spaces, and overlapping spectra; which gives the creator and the recipient the ability to expand in logical inferences based on the character's stream of consciousness being strongly connected to the daily, the cosmic and the potential in the structure of presence, and that the character always creates interpretations, and relative logical links between images, things and possible open narrative functional locations.
Moreover, the film includes a series of possible spectral spatial references that lies within the dream, memory, and metaphorical contemplative space in the heroine’s consciousness and subconscious; therefore, we find her performing two main experimental roles: the role of the meta-perceptual supervising observer of the fragmented subconscious images, and the role of the representative performer within the daily, dreamy, and virtual scenes. Finally, we notice that the knocking on the door at the end of the film suggests that the barriers between places are transparent or liquid barriers; we are inside a cosmic room that transcends physical boundaries towards the worlds of the subconscious and the collective subconscious, and the contemplative experiences that arise from a collective memory that resembles an infinite library similar to Borges’s Babel Library or even greater and includes sounds and spectra that are connected to the room 23 and the heroine’s consciousness at the same time.
Therefore, we infer the existence of a cognitive metaphor in the discourse between the first mental entry space or room 23 and the second mental entry space, a library with an irregular, circular, dreamlike abstract shape, and they are connected by a semantic link, which is openness to the worlds of consciousness and collective memory together, and from them arises a the blending space, which is a wide, internal, and universal spectral room.
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The link to the film:
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