"Just as information is no longer opposed to image, but is the very matter of its construction, so too information no longer appears incompatible with the story (as it was for Walter Benjamin), but incorporates it as an element […] into its constructive logic. The translation of “the archive back into individual life stories” (Alexander Kluge), which this makes possible, has become the means for certain artists to use memory, against the grain of its dominant sentimental use as a repression of the history it claims to represent, as an element of construction of historical experience. For temporality involved here is not that of the simple addition, or layering, of cinematic montage on the new partial ontology. Rather, it is a more complex temporality constructed out of the relations between the narrativity of the story and the interruptive, spatially distributed character of the still or unmoving image, the states of which registered the common now of the time of viewing. This is central to the establishment of the historical contemporaneity of such works: their bringing together of different times (different social times and different historical times) within the disjunctive ‘living’ unity of the present. Within the relational whole of the articulated ensemble of elements, each element functions as a separate subject of speech, creating a pluri-vocal ensemble in which it is the exchange between the thing-like and subject-like aspects of the image that establishes its specific temporality."