Clemente Ciarrocca

 

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info

 

 

 
 
VIDEO  WORKS
NA  TO  THYMASAI.              FINITE  EYES             LA  PIÉCES  I - V             PORTRAIT             TOULOUSINE             THE  ROAD  FROM  THE  STUDIO           
UNTITLED  (SWANS)
 
NA  TO  THYMASAI. 
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WHAT AM I MEANT TO DO?

YOU ALL EXPECT ME TO MAKE THINGS CLEAR,

TO COMFORT, AND TO LISTEN.

BUT I AM NOT SURE I WANT TO.

TIME

IS JUST A NUMBER OF THINGS THAT HAPPEN. AND I WANT TO BE THE LAST THING TO HAPPEN.

I DON’T WANT TO LEAVE WHEN EVERYTHING I KNOW IS LEAVING ME.

WHEN I LOVE…

WHEN I LOVE.

 

 

ICH FÜHLTE, DASS DIE HÄLFTE DER ERDE DUNKEL GEWORDEN WAR.

JETZT HÖRE ICH ZU UND LOB.

 

[INAUDIBLE WHISPERS]

 

 

VOICE:

[WHISPERED] IN THESE FEATURES…

IN PRAISE OF YOU…

AND THEN I KNEW.

 

MY MIND’S EYE IS HANDING ME BACK A WORLD REDUCED TO ESSENTIALS.

BARE,

SELECTIVE. 

LIKE A COLLECTION OF VITAL NODES. 

GRANTING ONLY PARTS TO A REALITY DEVOID OF TEXTURE, ARTEFACTUAL — AND THUS EMOTIONAL, IMMATURE,

LOADED.

 

I IMAGINED. 

I IMAGINED THE IDEA OF MAN.

I IMAGINED MAN GATHERED ROUND MY AMYGDALA.

A COMMUNION.

A FEELING OF EXPECTANCY HANGING UPON ME.

A TREPID EAGERNESS, HANGING UPON ME,

— IN SEEING THINGS WITH IGNORANT EYE AGAIN; IN PREPARING TO MY RITUAL.

I AM HERE, AS A CHILD AMONG THE ELDERS.

 

NIGHT IS FADING. 

THE CHILD STANDS UP. SHE TELLS US WE SHOULD LEAVE — THAT THERE IS MORE.

[TRANSLATING LITERALLY THE GREEK TEXT SPOKEN ON CAMERA] WAITING AND CRYING, FOR US.

IT’S EARLY DAWN. 

A NEVER ENDING DAWN, IN MY MIND.

HOW CLEAR THE SUN WHEN SEEN IN ITS IDEA, WIDENED IN THE CLARITY OF AN EDEN THAT HAD BANNED US AND OUR IMAGES.

REVEALING, AND RELIEVING US.

VIOLATING US.

 

HERE I STAND. IMPLACABLE, PROUD, ALIVE, NAKED, UNAFRAID.

IF ONE DOES NOT LIKE IT, HE SHOULD TURN AWAY, BECAUSE I AM LOOKING AT HIM.

HERE WE STAND.

HERE WE ERECT AND ARTIFICIAL PARADISE, DRAWN IN OUR LANGUAGE, MADE UP OF TWO CHAMBERS. THE SPECTRUM OF AN IMPULSE BEYOND HUMAN NEEDS. CLOSE TO THE ORBIT OF MY EYE.

DRAWING RESTRAINT IN THE IDEA OF OUR HEAVEN, OURSELVES AND OUR IMAGES —

— THE EYE SHINES…

AND WE IMAGINE ANOTHER MARRIAGE —

— WITH VOWS LIKE DROPS OF NECTAR. WITH VOWS LIKE A NEW BREED OF PEARLS.

 

[INAUDIBLE WHISPERS]

 

KORINA:

COME

 

ELIZAVET:

I WANT TO HAVE A CHILD. I WANT TO GIVE BIRTH HERE.

 

KORINA:

BEFORE OUR AGONY... YOUR CHILD WILL MAKE TIME

FOR YOUR IDEAS. TO PRAISE YOU.

FORGET THE VOID OF A WORLD ESSENTIALLY LACKING. I DESTROY THIS PLACE, AND YOU WOULD BE ROAMING A WORLD WITHOUT PARADISE.

 

 
FINITE  EYES
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[INAUDIBLE VOICE ON THE OTHER SIDE OF THE LINE]

WH—WH—WHAT...?
YEAH ... — I’M — I DON’T THINK I REALLY... I DON’T KNOW IF I REALLY... UNDERSTAND...
...
SO BASICALLY, ... YOU’RE JUST NOT FEELING LIKE — ...


MAYBE FEAR IS YOUR DESIRE. MAYBE WHAT YOU FEAR MIGHT ... — YEAH... I DON’T KNOW...
MMH, HOW DO YOU —
BUT WHAT WAS I GOING TO SAY... — AND DO YOU... HAVE YOU BEEN HAVING WEIRD DREAMS IN THESE DAYS?


... ACTUALLY... WELL... — RIGHT... WELL I MEAN — ... RIGHT — WELL I MEAN I FEEL LIKE... I THINK THAT GOING BACK TO THE FREEDOM THING, I MEAN, I THINK THE FACT THAT I DON’T FEEL LIKE I HAVE FREEDOM IN THIS WORLD. AND I DON’T THINK ANYONE DOES. AND MOST PEOPLE ARE CONFORMISTS AND THEY JUST GO ALONG WITH EVERYTHING THEY’RE DOING AND THEY THINK THAT BECAUSE THEY HAVE THE CHOICE OF, YOU KNOW, WHAT KIND OF TOILET PAPER THEY CAN BUY OR WHAT KIND OF CHEESE THEY CAN SELECT FROM THE GROCERY STORE OR AT THE CHEESE MARKET OR WHAT SHOES THEY CAN — YOU KNOW WHAT I MEAN? — WHERE THEY FEEL THEY ARE CONTENT OR THEY CAN TALK TO THEIR FRIENDS AND SEE PEOPLE THEN THEY DON’T HAVE TO — YOU KNOW WHAT I MEAN? — THEN THEY DON’T HAVE TO REALLY THINK ABOUT THEMSELVES, BUT WHEN I REALLY THINK ABOUT IT AND I THINK IN THESE TIMES ONE OF THE MOST FRUSTRATING THINGS HAS BEEN FOR ME IS REALISING WHAT A LACK OF FREEDOM I ACTUALLY REALLY DO HAVE.

[INAUDIBLE VOICE ON THE OTHER SIDE OF THE LINE]

OH... YOU...
— YOU ACTUALLY HAVE TO LIVE INSIDE OF YOURSELF, WHICH IS WHAT I GUESS YOU’RE PROBABLY EXPERIENCING, IS THAT: YOU LIKE YOURSELF. YOU CAN THINK OF IT AS ... SOME KIND OF SELF-LOVE! YOU KNOW...? YOU KNOW WHAT I MEAN? OR LIKE SOME INWARD... YOU’RE GOING ON AN INWARD JOURNEY...! OR INWARD EXPLORATION! AND

MAYBE YOU’RE ENJOYING THAT, YOU DIDN’T REALISE IT BECAUSE THE WHOLE THING IS JUST, LIKE, I MEAN, WE’RE... WE HAVE TOO MUCH CONTACT WITH PEOPLE...

[INAUDIBLE VOICE ON THE OTHER SIDE OF THE LINE]

WAIT, WHAT...?
— WAIT, WHAT IS NOT GOING TO LEAD YOU SOMEWHERE...? WHY IS IT SELF-DESTRUCTION — I DON’T...







YEAH.
I AM TRYING TO AVOID IT AS MUCH AS I CAN, AND I DON’T REALLY THINK ABOUT IT ANYMORE, YOU KNOW... TO ME IT’S SOMETHING VERY... DISTANT.


AND... AND SORT OF... I DON’T REALLY... — I CAN UNDERSTAND, YOU KNOW, THE MENTALITY, I CAN ALSO FOLLOW, YOU KNOW, THE STRING OF THOUGHTS AND, YOU KNOW, THE GENERAL POLITICS THAT ARE GOING ON, BUT... BUT IT’S JUST LIKE... IT’S REALLY NOT A PART OF ME.
I FEEL AS FOREIGN, MAYBE, AS YOU, YOU KNOW?
I DON’T EVER — I HAVE NEVER REALLY FELT... LIKE I WAS A PART OF IT.


[INAUDIBLE VOICE ON THE OTHER SIDE OF THE LINE]

MMMH...
[GIGGLES] YEAH...

... AND THAT’S, TO US! WHO ARE SO USED TO OUR FREEDOM! RIGHT? WE CAN DO PRETTY MUCH ANYTHING AT ANY TIME NOWADAYS!
AND...
AND THIS WORRY OF NOT BEING ABLE TO BE FREE IN YOUR DECISIONS... AND WHEN...

YEAH... MMMH...

YEAH... YOU KNOW!? SO YOU, YOU... YOU DON’T EVEN HAVE TIME TO REFLECT ON THINGS! AND, AND IT’S... IT’S THIS MASSIVE OVERCONSUMPTION OF THINGS! OF EMOTIONS, OF OF... OF EVERYTHING! AND... — YEAH... BECAUSE PEOPLE ALSO TAKE TIME, YOU KNOW? THEY TAKE THE TIME, THEY MAYBE JUST MAKE TIME, YOU KNOW, IN THE DAY, AND FIND A MOMENT TO CALL YOU; OR ARE MAYBE A BIT MORE FOCUSED, A BIT MORE SORT OF... GROUNDED, I DON’T KNOW... A BIT MORE... ACTUALLY REALLY INTERESTED IN HEARING WHAT YOU HAVE TO SAY, AND... I FEEL LIKE THERE’S A... A BIT MORE ENGAGEMENT, AND...


... OOOHH! HOW IS HE DOING ACTUALLY? ... YEAH? GOOD, GOOD!... I KNOW! DAYS, ACTUALLY!

...I THINK IT’S ALSO — AND THEN I AM GOING TO SHUT UP, BUT I MEAN I THINK IT’S ALSO, I MEAN — IT OBVIOUSLY HAS TO DO WITH... I MEAN ... YOU NEED TO BE SENSITIVE. YOU KNOW? YOU NEED TO HAVE CERTAIN ANTENNAS, I THINK, IN ORDER TO FEEL THESE THINGS AND TO MAKE ROOM FOR THEM.

AND I THINK IN THAT SENSE, EHM, YEAH... I MEAN... IT MAY BE DIFFERENT, I MEAN... BUT IT’S INTERESTING TO HEAR LIKE HOW YOU FEEL ABOUT THESE THINGS ALSO BECAUSE OF, YOU KNOW, YOUR WORK, AND YOUR LIFE, AND THE WAY... THE WAY I KNOW YOU AT LEAST — THE WAY YOU THINK, THE WAY YOU FEEL ABOUT
 THINGS — SO... EHM, I AM NOT SURPRISED THAT WE’RE... KIND OF ON THE SAME PAGE HERE. YOU KNOW? AND... AND IT’S JUST...

... YEAH...


[INAUDIBLE VOICE ON THE OTHER SIDE OF THE LINE]

...YES... YES! THAT’S AN INTERESTING, VERY VERY INTERESTING... THOUGHT...





PRESENTER ON TV:
“THERE HAVE BEEN TIMES IN THE HISTORY OF MANKIND WHEN THE EARTH SEEMS SUDDENLY TO HAVE GROWN WARMER; OR MORE RADIOACTIVE... WELL, I DON’T PUT THIS FORWARD AS A SCIENTIFIC PROPOSITION... BUT THE FACT REMAINS THAT THREE OR FOUR TIMES IN HISTORY, HUMANS HAVE MADE A LEAP FORWARD THAT WOULD HAVE BEEN UNTHINKABLE UNDER ORDINARY EVOLUTIONARY CONDITIONS.

ONE SUCH TIMES WAS ROUND ABOUT THE YEAR 3000 BC WHEN, QUITE SUDDENLY, CIVILISATION APPEARED: NOT ONLY IN EGYPT AND MESOPOTAMIA, BUT ALSO IN THE INDIAN VALLEY.

ANOTHER WAS IN THE LATE 6TH CENTURY BC: AND IT WAS NOT ONLY THE MIRACLE OF IONIAN AND GREEK PHILOSOPHY, SCIENCE, ART, POETRY — ALL REACHING A POINT THAT WASN’T REACHED AGAIN FOR TWO THOUSAND YEARS — BUT ALSO, IN INDIA, A SPIRITUAL ENLIGHTENMENT THAT HAS PERHAPS NEVER BEEN EQUALLED.
AND ANOTHER, WAS ROUND ABOUT THE — "


NEWS ON TV:
“SCIENTISTS IN ARGENTINA SAY THEY MAY HAVE DEVELOPED A FAST AND CHEAP WAY TO TEST IF SOMEONE HAS THE NOVEL CORONAVIRUS. THEY CLAIM THE TEST, CALLED THE NEO PRICK COVID-19, WILL GIVE RESULTS IN JUST ONE HOUR. THE FIRST 10’000 OF THESE TESTS WILL BE —"

PERFORMER ON TV:
“THIS PLACE IS ISOLATED. BY SERIES OF OBSTACLES.

OVER THERE, I SEE A STEEP MOUNTAIN CHAIN. A PRECIPICE AND A PITCH, THAT HAS NOW BEEN DEMOLISHED TO HINDER PASSAGE.

IN FRONT ME, THE SEA IS STRETCHING AS FAR INTO THE HORIZON AS MY EYES CAN REACH.

I AM TOO FAR AWAY TO SEE ANY DETAILS — YET I AM ABLE TO DISCERN FOUR MEN IN MILITARY UNIFORM. THEY ARE HOLDING STICKS IN THEIR HANDS WHILE THEY ARE APPROACHING THE BEACH.
THEY SEEM TO BE POKING THE STICKS INTO THE SAND, AND ONCE IN A WHILE, IT’S AS IF THEY HIT SOMETHING HARD UNDERNEATH THE SURFACE.

IN THESE AREAS, THEY KNEEL DOWN AND START DIGGING.

I REACH MY HEAD OUT AND LOOK DOWN: I SEE THE MAN CARRYING THE DEAD CORPSES THROUGH A —"
 
LA  PIÉCES  I - V
LA  PIÉCE  I
NO TOPOLOGY CREATED YET
LA  PIÉCE  II - V
PRODUCTION OPEN
 
PORTRAIT
PRODUCTION OPEN
 
TOULOUSINE
PRODUCTION OPEN
 
THE  ROAD  FROM  THE  STUDIO
 
REST,  JULIETTE
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THE TRUTH, JULIETTE, 

I DON’T MIND INDICATING WHAT THEY ARE

THIS WAY YOU STRIKE

THE MEANS I PROPOSE, OH, JULIETTE, BE SURE OF IT, 

SOMEWHAT LATER CLARIWILL CALLED UPON ME AND PROPOSED AN UNUSUAL EXPLOIT. WE WERE IN THE SEASON OF LENT. 

THEY EXCITE ME MENTALLY AND FOR THAT I VALUE THEM

NOTHING, IN MY VIEW, IS SURER PROOF AGAINST BACKSLIDING: ONE CANNOT ACCORD ANY SERIOUSNESS TO OBJECTS ONE TREATS IN SUCH MANNER

MAY

I ADD

THAT I SUSPECT DOUBTS MIGHT STILL BE WARRANTED OF YOUR FIRMNESS IN THESE MATTERS

AH, CLAIRWILL, BANISH THEM FROM YOUR MIND. I SHALL JOIN YOU IN THESE UNDERTAKINGS BECAUSE THEY PLEASE YOU, BUT FOR ME THEY ARE MERE AMUSEMENTS, AT BEST, AMUSEMENTS,

AS YOU LIKE MY BELOVED, SAID CLARIWILL, AS YOU LIKE, WE SHALL EXECUTE THEM FOR PLEASURE’S SAKE OLONE, WHEREAS THE BETTER PART OF US ASSIGNS A VERY HOLY SIGNIFICANCE TO THAT HOST, THE CONVENTION, AND THAT EXACTLY IS WHY I AM FOND OF PROFANING THEM: I HIT OF PUBLIC OPINION, THAT ENTERNTAINS ME, I VOMIT ON THE PREJUDICES THEY STROVE TO INCULCATE IN ME WHEN I WAS YOUNG, I OBLITERATE THEM, THAT EXCITES ME

LET’S BE AWAY, SAID I,

WE WENT BY CARRIAGE, AND OUR SIMPLE, ARTLESS TOILETTES CONFORMED WONDERFULLY TO OUR DESIGNS, AND BOTHER CLAUDIE, WHOM WE ASKED FOR AND WHO QUICKLY SEATED THEMSELVES IN THE CONFESSIONALS, COULD NOT HAVE TAKEN US FOR ANYTHING BUT MODELS OF PIETY

BE

EVER MINDFUL, NATURE SAYS TO US

BE EVER MINDFUL THAT ALL WHICH THOU WOULDST NOT HAVE DONE UNTO THYSELF, BEING THE GRAVE HARM DONE A NEIGHBOR WHENCE THERE IS MUCH PROFIT TO BE HAD, IS PRECISELY THAT WHICH THOU MUST DO TO BE HAPPY

FOR IT IS WRIT IN MY LAWS THAT YE ALL DESTROY YOURSELVES MUTUALLY; AND THE TRUE WAY TO SUCCEED THEREIN IS TO HARM THY NEIGHBOR WITHOUT STINT OR CEASE. WHENCE IT COMETH THAT I HAVE PLACED THE SHARPEST BENT FOR CRIME IN THEE, WHENCE IT IS THAT MY INTENTION BE THAT THOU RENDER THYSELF HAPPY, AT THE EXPENSE OF WHOSOEVER IT BE. LET THY FATHER, THY MOTHER, THY SON, THY DAUGHTER, THY NIECE, THY WIFE, THY SISTER, THY FRIEND BE NO DEARER TO THEE THAN THE LOWLIEST WORM THAT CRAWLETH ON THE FACE OF THE EARTH; FOR BONDS, DUTIES, ALLEGIANCES, AFFECTIONS, NONE OF THESE HATH EVER BEEN HAD FROM ME, THEY WERE WROUGHT BY THY WEAKNESS ONLY, BY THY EDUCATION, AND BY THY FOLLY; THEY CONCERN ME NOT NOR INTEREST ME AT ALL; THOU MAYST VIOLATE THEM, BREAK THEM, LOATHE THEM, ANNUL THEM; ’TIS ALL ONE TO ME. I CAST THEE INTO BEING AS I CAST THE OX, THE ASS, THE ARTICHOKE, THE LOUSE; TO THEM ALL I GAVE FACULTIES, SOME OF GREATER 

SOME OF LESSER PROPORTIONS; USE WHAT ARE THINE; ONCE GONE FORTH OUT OF MY BOSOM, THOU CANST TOUCH ME NO MORE, WHATEVER THOU DOEST. IF THOU KEEPEST THEE SAFE AND INCREASE, THOU SHALT DO WELL AS REGARDS THYSELF; IF THOU DOST DESTROY THYSELF AND OTHERS, NAY, IF THOU CONTRIVEST, USING SUCH CAPACITIES AS THOU HAST, TO LAY THE THREE KINGDOMS WASTE AND TO DEVASTATE THEM SO THERE SHALL BE NOTHING LEFT, ’TIS THERE SOMETHING WHEREAT I SHALL BE PLEASED BEYOND MEASURE; FOR I IN MY TURN SHALL USE THE FAIREST ATTRIBUTE OF MY POWER, THAT WHICH IS MY ABILITY TO CREATE, TO MAKE BEINGS ANEW—WHICH THY ACCURSED PROGENITURE HINDERS ME FROM DOING. CEASE TO ENGENDER, DESTROY ABSOLUTELY ALL THAT EXISTS: THOU SHALT DISTURB NOT THE SLIGHTEST THING IN MY SCHEME OR WORKINGS. BUT WHETHER YE DESTROY OR CREATE, THE TWO BE NEARLY THE SAME IN MY EYES, WHICHEVER WAY THOU WOULDST PROCEED, I BENEFIT FROM THY DOINGS, NOTHING IS LOST IN MY DOMAIN. SO FORM OR DESTROY AS THOU WILT AND AT THY EASE; TOMORROW’S SUN SHALL RISE JUST THE SAME; AND IF THOU DOST DESTROY ALL, AS THESE THREE KINGDOMS ANNIHILATED BY THY WICKEDNESS ARE THE NECESSARY RESULTS OF MY COMBINATIONS AND AS I FORM NOTHING ANYMORE, BECAUSE THESE KINGDOMS ARE CREATED WITH THE FACULTY OF REPRODUCING THEMSELVES MUTUALLY; SMITTEN BY THY TRAITOROUS HAND, THEY SHALL BE RE-FORMED BY ME, I SHALL CAST THEM AGAIN AND IT SHALL BE ON EARTH AS IT WAS BEFORE. THE VASTEST, THE PROFOUNDEST, THE MOST ATROCIOUS OF THY CRIMES SHALL THUS ONLY HAVE PLEASED ME

INSTALLATION  WORKS
THE  ARTIST  IN  ITS  WORKSHOP              CHEERIAH  ZEROTH            UNTITLED  (POEM  A) 
THE  ARTIST  IN  ITS  WORKSHOP
 
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THE SPACE IS LIMINAL/A LIMINAL SPACE BETWEEN THE PHYSICAL AND THE VISUAL 

                         THE VIRTUAL

THE WORK EXPLORES PRODUCTION         MACHINERY AS AUTOMATIC PRODUCTION 

THE WORK EXPLORES THE RELATIONSHIPS OF PRODUCTION

THE WORK EXPLORES PRODUCTION
                                       PRODUCTION (AS A SPACE OF ) LIMINALITY 
                                       PRODUCTION AS LIMINALITY

THE WORK EXPLORES DYNAMICS OF PRODUCTION IN AUTOMATISM AND EMERGENCE

THE WORK PRESENTS PRODUCTION

FOUR MONITORS OUTPUT A DEFAULT ENVIRONMENT. THAT IS YOUR ENVIRONMENT 

[THE ENVIRONMENT IS COMPOSED OF:
         (REPETITION)
         A CONTINUOUS SOUNDSCAPE
         FOOTAGE/SHOTS OF THE SPACE FROM A *PREVIOUS* (ev: LESS RICH) 
         SET UP
                  VOICES LIST ARTWORKS FROM THE PAST CENTURIES THAT HAVE
                  BEEN DESTROYED, LOST, OR ARE JUST MISSING 
                  'THE VOICE' IS AT THE VERY BEGINNING OF ITS IDENTITARY JOURNEY --
                  ---- IT IS ARTIFICIAL
                  THE FOOTAGE SHOWS THE MACHINE, IN THE SPACE, AT SOME KIND
                  OF WORK...

         [THE ORIGINS CANNON   _______   STRUCTURE TRANSFER: LIGHT > (BLACK)
                                                                    METAL > LEAFS > FLESH IS ETHICS #2 >
                                                                    SPACE
          THE SHEET'S REFLECTION
         DECOMPOSITION (SUSHI)]
]

THE MACHINE IS ATTEMPTING SOMETHING

THE MACHINE IS PROCESSING INFORMATION

FOUR MONITORS OUTPUT IMAGERY
THE IMAGERY RESULTS OF THE PROCESSING

NOW, ALL THIS (ELSE) IS IN THE ENVIRONMENT
BECAUSE IT IS YOUR ENVIRONMENT (AS YOU STEPPED IN) THE FEELING IS THAT OF AN INVASION. AN ASSAULT


YOU DON'T EXPERIENCE EVERYTHING. 
YOU CAN'T PERCEIVE EVERYTHING.

THE IMAGERY IS ALL IMAGERY THAT IS (WAS) CURRENTLY BEING USED IN OTHER WORK. YOUR ENVIRONMENT IS IN AN ENVIRONMENT

THE SPACE (THE WORKSHOP)  IS ALL SPACE THAT IS (WAS) CURRENTLY BEING USED TO THINK ABOUT TO MAKE OTHER WORK



*THE IMAGERY SOMEWHAT FAILS*

THE MACHINE ATTEMPTS AGAIN. THE LIST OF ARTWORKS CHANGES. THE STRUCTURE REMAINS THE SAME. SOME IMAGERY CHANGES, BUT MOST OF IT AND ITS TYPE REMAINS THE SAME (IS INSISTED, TRUSTED, REPEATED). THE MACHINE IS *SIMPLY* ADJUSTING, SLIGHTLY, *TARGETING ERROR*.


THE MACHINE ABORTS THE 'PLAN A' AND GOES FOR 'PLAN B'. THE PRESENT BEGINS, THROUGH ASSUMPTION (THE RESULT OF THE PROCESSING IS GUESSED, TRUTH IS BYPASSED, CONTENT ACQUIRES). THIS DATA IS ALL THAT REMAINS




CONTINUITY          ADJIAGENCY         'CONFORMITY'         DIALOGUE
                        
         CONNECTION
           BETWEEN PRODUCTION MOMENTS AND GENERAL (SOUND)SCORE,
           WHERE THE EVENTS ARISE

[PART OF THE SCORE NOT ADVERTISED FOR THE NOVEMBER 2021 OPENING]

         PRODUCTION         TEXTURE         DEFAULTNESS         EMERGING        

DUAL/BINARY(?) ATTEMPT AT SYNTHESIZING         YOU ARE WITNESSING       

         INVASION OTHERNESS PRESENCE IN THE DEFAULT






WHAT VISITORS SAID:

         A SPACE BETWEEN THE PRIVATE (THE WORKSHOP) AND THE
         PUBLIC (THEIR PRESENCE, THE ARTISTS' NAMES) WAS LIVED.  [LIMINAL]

         AN INFINITE NUMBER OF OTHERS
 
CHEERIAH
CHEERIAH ZEROTH
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MYSTIFYING

 

 

 

 

 

 

 

 

IT IS CENTERING.

 

IT IS ABSTRACTING. 

 

IT IS CONCRETIZING. 

 

        IT IS AFFECTING.

 

IT IS APPROXIMATED. THERE IS MISTAKE. 

 

THE IMAGES TEND TOWARDS THE NUMBER 7.

 

 

 

 

.GLUE

 

JUST A SINGLE SHEET.

HORIZ — OR VERT?

HORIZ.

 

A MAPPING PROJECT.

 

AN EVOKING PROJECT.

 

THINGS ARE MAPPED, THEN BROUGHT UP TO YOU. BROUGHT UP IN THE ENVIRONMENT.

 

 

 

 

[…] WHAT IS THE DIFFERENCE BETWEEN CREATING THIS SEQUENCE, AND HOLDING UP A STILL FRAME ON THE SCREEN THAT JUST EXPLAINS: 

 

“… TO EXTRACT ETHYLENE. OIL OR NATURAL GAS IS HEATED WITH STEAM TO CRACK APART”

 

THE SECOND WOULD BE DIDACTIC. THE FIRST BRINGS TOGETHER PARTS OF A WORLD THAT WAS NOT A WORLD BEFORE. 

IT BUILDS A NEW WORLD IN SPACE AND TIME. IT DOES SO BY THE SIMPLE MECHANISM OF ADJUNCTION AND ASSOCIATION. SEQUENCING. LOCALITY. P{ROXIMITY.

 

SEQUENCING. 

 

LOCALITY. 

 

P}{ROXIMITY.

 

 

YOU CAN USE TOPOLOGY TO REFER TO ALL THESE ELEMENTS. KIND OF LIKE STANDPOINTS. A SIGN IS EQUIVALENT TO ANOTHER SIGN. ‘RED’ THOUGH IS NOT EQUIVALENT TO C2H2, FOR HERE MUST BE TOTAL SYSTEMATIC EQUIVALENCE - WHAT IS RED?

A PLANE? A SHAPE?

 

ROBERT SMITHSON PARTIALLY BURIED WOODSHED 1970

 

RENEE GREENE, PARTIALLY BURIED.

 

A SIGN IS EQUIVALENT TO ANOTHER SIGN.

 

 

HOW IS E.G.

ETHYLENE EXTRACTED?

 

⎣ USING OIL OR NATURAL GAS AS A FEEDSTOCK, PETROCHEMICAL PLANTS USE THE ‘CRACKING PROCESS’ TO EXTRACT ETHYLENE. OIL OR NATURAL GAS IS HEATED WITH STEAM TO CRACK APART MOLECULAR BONDS, AND THE ETHYLENE GAS EMITTED IS SEPARATED AND SENT TO PROCESSING PLANTS.

 

 

TRYING TO NAIL DOWN THE CHEMICAL PRODUCTION PROCESS OF POLYS. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

(DON’T FORGET IT IS ESSENTIALLY PLASTIC)

 

 

 

 

 

 

 

 

 

 

 

WHAT DOES IT LOOK LIKE?

I NEED TO SEE IT, I NEED TO TOUCH IT.

 

 

 

 

SPACE — THE VACUUM BETWEEN THE SHEET AND THE SCREENING SURFACE IS WHERE ‘THE REACHING’ TAKES PLACE.  

 

 

 

 

EYE HEIGHT OF THE PLATE.

 

 

THE LIGHT BEAM.

 

 

DIRECT CONCEPTS AND OBJECTIVES

:

 

 

 

THE PROJECTIONS VEHICLING THE WORLD SCORE.

 

THE WORLD SCORE: THE IMAGERY.

 

 

 

THE OBJECT IS A SIMULACRUM.

 

 

 

[ZIKURAT ABANDONED LIKE THE BACK OF A MOON ROCKET]

 

 

 

A DESERT VIRTUAL SPACE AROUND THE DRILLING/TUNNEL AREA.

 

FIRE MOUTH SPREADING. 

 

THE LINE OF THE CALIFORNIA PATH IT TOOK? CHINO HILLS ␂ L.A. ␂ VALENCIA, ALONG THE FREEWAY.

 

THE VACUUM BETWEEN THE PLATE AND THE SCREENING SURFACE IS WHERE ‘THE REACHING’ TAKES PLACE.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

COMPOSITION

 

 

 

COMPOSITION CAN BE UNDERSTOOD AS A COMMON PARAMETER BETWEEN THE OBJECT AND THE WORLD SCORE. 

 

WHAT COMPOSES THE NARRATIVE OF THE OBJECT? WHAT ARE THE KEY ELEMENTS IN DEFINING ITS PROVENANCE, PAST, AND FEATURES? 

 

RENÉE GREEN   :   PARTIALLY BURIED

 

THE SERIES OF PROCESSES UNDERGONE BY THE MONOMER, SUCH AS HYDROLIZATION, ESTERIFICATION, OXIDIZATION, …

 

 

A SET OF OBSCURE, OPAQUE PROCESSES.

 

⎣ FILM WISE, FOR THESE JUST GIVE ABSTRACT GESTURES/EVENT, LIKE THE SOUND OR CHROMATICISM OF AN IMPACT. ⎣ LIKE THE FORM OR SILHOUETTE OF AN ACTION OR MOTION. ⎣ THEN, GETTING CLOSER TO POLYMERIZATION; GETTING ‘REPRESENTATIONAL’. BY MAKING PROCESSES SUCH AS HYDROLIZATION, ESTERIFICATION ETC MORE REPRESENTATIONAL, THE HISTORY OR CREATION OF THE MATERIAL ‘IS MAPPING’ ONTO ‘HUMAN’ CONTENT.

 

IS THIS TOPOLOGICAL TRANSFORMATION?

ALSO 

EXTRACT MORE GENERIC STEPS WITHIN THE POLYMERIZATION PROCESS, SUCH AS “REPETITION” OR “BREAKING OF BONDS”, TO TURN THEM INTO EMOTIONALLY MEANINGFUL ‘WORDING’/SCORING.

THEN WE CAN ENTER THE REALM OF HANDLING.

 

THE ‘HUMAN’ REALM SEES RADICALLY DIFFERENT TYPES OF ACTIONS.

 

THEY ARE NOT THEATRICAL, BUT PRESENTIAL, EXISTENTIAL; THEY CONCERN WITNESSING, CARING, BEING A CERTAIN WAY.

….

 

 

SUCH KEY ELEMENTS WILL DIRECT THE FILM. 

THEY WILL BE TRASLATIONAL AXES, FOR THE FORM OF THE OBJECT TO TRAVEL AND CENTRALISE THE FOOTAGE.

IS THIS TOPOLOGICAL TRANSFORMATION, 

OR AEGIS?

 

THE PARAMETERS ARE THE UNIT-BASED GEOGRAPHICAL LOCATION, AND A RADIUS FLY OF EMOTIONAL CONTENT. THIS LATTER, PIVOTING ALONG WHICH LINES? WHICH ONES ARE THE AXES? SHOULD EXTREMES BE INCLUDED?

 

[8NOV21: IMPOSSIBLE TO RETRIEVE LOCALIZED HARDCORE EMOTIONAL MATERIAL DUE TO TIME-INDUCED CHOICE CONSTRAINTS, PERKINESS OF THE NET, ATTRACTIVENESS OF ALTERNATIVES. THE EMOTIONAL CONTENT'S PRONENESS TO EVERYWHERE.]

 

 

 

THERE SEEMS TO BE A COMPOSITIONAL TREND IN THE MATERIAL CONNECTED TO ITS DIMENSION AND HEAT. 

ITS FIRST PROVENANCE IS A MACRO MATERIAL ‘FOUND IN NATURE’, OIL; IT IS THEN DISSECTED AND DISMEMBERED INTO MICROSCOPIC CHEMICAL COMPONENTS, ‘NOT FOUND IN NATURE’, TO EVENTUALLY BE RE-COMPOSED AS MACRO MATERIAL ‘FOUND IN NATURE’, I.E. THE SHEET. 

HEAT INCREASES IN THE SECOND STEP TO THEN BE EVENTUALLY REDUCED TO LESS THAN THE INITIAL HEAT LEVEL. ONLY IN EXTREMELY RARE CASES, SHEETS ACROSS THE WORLD WOULD BE MELTED. 

NOTICE THE FIRST STEP TAKES PLACE IN THE REFINERY IN _______ ; THE LAST IS THE 

CENTER.

 

 

THE ENTIRE SHAPE AND STRUCTURE OF THE OBJECT GOVERNS THE ‘FORMAT’ OF THE SCORE IN DURATION AND (FOR ITS INCLINATION SEEN AS ACCELERATION) RHYTHM. 

THE MARKS DRIVE SOME ASPECTS OF THE CONTENT.

 

 

 

 

THIS IS ALL APPROXIMATED.

 

 

 

 

THERE IS ERROR.

 

 

 

 

 

 

 

 

ONE MIGHT ALSO COMMENT: OTHER OBJECTS HAVE A SEVEN SIDED CONFIGURATION. 

YOU ARE USING A GENERAL PARAMETER. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

BUT NO OTHER OBJECT HAS THAT SPECIFIC COMBINATION OF CHEMICAL PROCESSING, SHAPE, AND MARKS. 

 

YOU ARE USING A COMBINED, UNIQUE PARAMETER.

 

 

 

THE LIGHTING

 

LIGHTING IS INTEGRAL TO THE WORK. IT IS A MATERIAL, ESPECIALLY SINCE THE PROJECTIONS ARE MADE OF LIGHT. 

THE DEFAULT: 

DARKNESS; A LIGHT BEAM ON THE SURFACE; PROJECTOR BLACK.

 

 

(THE PLATE MIGHT ALSO BE A SMALL, TWO SIDED TOWER, SIMILAR IN DIMENSIONS TO THE FIRST MODEL.) 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

SOUND

 

THE EFFECT RUNS OFF. 

 

A CLIMACTIC RELATIONSHIP BETWEEN THE EFFECT           THE SNAPPING IN OF THE PROJECTIONS        AND THE BASE COUNT.

 

THE EFFECT AS VOICE.

THE EFFECT AS MOVEMENT.

SUBLIMED MOVEMENT. 

PAN

 

 

THE ROOM IS NOT THE ROOM

IT IS JUST SPACE.

 

 

 

DO IT AGAIN.

 

 

 

(TO EXPLORE A LONG LOST REITERATION OF THE PIECE

TO EXPLORE A RE-EVENT

TO EXPLORE A NEW ITERATION OF CONFIGURATION OF WORLD-OBJECT, CONTINUATION, WITH NO WITNESSES.)

 

 

 

 

 

THE MATERIAL

 

IS THE MATERIAL

 

APPROXIMATION:

 

THE SHEET IS MADE OF POLYMETHYL METHACRYLATE (PMMA), COMMONLY CALLED POLY, OR ACRYLIC.

IT IS A THERMOPLASTIC, A NON-CRYSTALLINE VITREOUS SUBSTANCE.

CHEMICALLY, IT IS THE SYNTHETIC POLYMER OF METHYL METHACRYLATE.

 

METHYL METHACRYLATE (MMA) IS AN ORGANIC COMPOUND. THIS COLORLESS LIQUID, THE METHYL ESTER OF METHACRYLIC ACID (MAA), IS A MONOMER. A MONOMER IS A MOLECULE THAT CAN REACT (I.E. CHANGE, BONDS BEING BROKEN) TOGETHER WITH OTHER MONOMER MOLECULES TO FORM A LARGER POLYMER CHAIN OR THREE-DIMENSIONAL NETWORK IN A PROCESS CALLED POLYMERIZATION. MONOMERS, HOWEVER, ALREADY HAVE A SOMEWHAT ‘COMPLEX’, OR BETTER COMPOUND STRUCTURE:

 

[CH2=C(CH3)COOCH3]

 

 

 

 

[CH2=C(CH3)COOCH3]

 

HIGHLIGHT THE DOUBLE BOND (=) BETWEEN THE TWO CARBON ATOMS IN THE MIDDLE. 

 

DURING POLYMERISATION, ONE LEG OF THIS DOUBLE BOND BREAKS AND LINKS UP WITH THE MIDDLE CARBON ATOM OF ANOTHER METHYL METHACRYLATE MOLECULE TO START A CHAIN. 

 

THIS PROCESS REPEATS ITSELF UNTIL THE FINAL POLYMER IS FORMED. 

FORMED YOUR EXPERIENCE?

 

SO A POLYMER IS THE REPETITION OF THE SAME MONOMER.

 

IS THAT YOUR EXPERIENCE?

 

HOW IS THE SPLIT ACHIEVED? 

⎣ THROUGH TEMPERATURE, I.E. THERMAL ENERGY. 

 

APPROXIMATION:

 

THERMAL ENERGY, OR HEAT, IS THE ENERGY THAT COMES FROM THE MOVEMENT OF ATOMS AND MOLECULES IN A SUBSTANCE. HEAT INCREASES WHEN THESE PARTICLES MOVE FASTER.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

FIRST TAKE ME TO YOURSELVES FROM PLACES.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

TAKE ME TO YOURSELF FROM PLACES.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

HOW IS MMA PRODUCED/DERIVED IN THE FIRST PLACE?

 

 

IN SUMMARY PMMA, A POLYMER OF THE MONOMER MMA, WHICH IS PRODUCED AS A REACTION OF ACETONE CYANHYDRIN WITH METHYL ALCOHOL. 

𐂷 𐂷           𐂷      𐂷

ACETONE CYANHYDRIN, IN TURN, IS PRODUCED AS A REACTION OF HYDROGEN CYANIDE AND ACETONE. 

        𐂷                             𐂷                𐂷.    𐂷

HYDROGEN CYANIDE IS PRODUCED AS A REACTION OF METHANE AND AMMONIA OXIDIZING THROUGH OXYGEN. 

𐂷                         𐂷                         𐂷

ACETONE IS PRODUCED AS A REACTION OF BENZENE AND PROPYLENE, WHICH THROUGH OXIDATION LEAD TO CUMENE AND THEN ACETONE.

𐂷

IT’S CHRISTMAS EVE AND THE ÆNE-IDE-YL FAMILY IS SINGING AROUND THE DRESSED TABLE, THE YOUNG CARRYING THEIR ELDERS ON THEIR BACKS, AS IS TRADITION.

 

POCKET MYTHOLOGY

 

 

 

BILLIONS OF KILOGRAMS OF THESE ELEMENTS ARE PRODUCED ANNUALLY.

 

TO PRODUCE 1 KG (2.2 LB) OF PMMA, ABOUT 2 KG (4.4 LB) OF PETROLEUM IS NEEDED. [CITATION NEEDED]  

 

:ERROR

 

POLYMERIZATION

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

TRANSPARENCY

 

ACRYCAST TRANSMITS 92% OF VISIBLE LIGHT.

 

 

 

PROVENANCE

 

THE SHEET 2423 IS OF THE ACRYCAST BRAND.

 

 

ERIC TO ME AT 1:30PM ON 28OCT21:

 

“SMP BUYS IT FROM CALSAK PLASTICS IN DOMINQUEZ HILLS, MAYBE THEY SOURCE IT FROM PORT PLASTICS OR MAYBE THEY 

ARE BOTH OWNED BY BLACK FRIARS, WHICH IS A COMPANY IN ENGLAND WHO I THINK OWNS MANY 

PLASTIC DISTRIBUTION COMPANIES IN THE WORLD. 

 

THERE IS A COMPANY IN MEXICO CALLED ARKEMA, BUT I DON'T BUY FROM THEM.

 

ALSO RHOEM IS A GERMANY COMPANY THAT JUST BOUGHT EVONIK AN AMERICAN

COMPANY. 

 

ALSO IF YOU GO TO ALI BABA.COM YOU CAN SEE THAT YOU CAN BUY PALLETS OF ACRYLIC 

AND THEY WILL SHOW ON THEIR WEBSITE HOW THEY MAKE THE PLASTIC AND YOU 

CAN ASK THEM IF YOU CAN BUY IT OR SOURCE IT FROM AN AMERICA COMPANY.

 

GOOD LUCK.”

 

 

 

ACRYCAST APPEARS TO BE A TRADEMARK OF PORT PLASTICS INC. 

 

THE SAME BRAND NAME IS ALSO SAID TO BE OWNED BY CALSAK PLASTICS. THIS IS WHERE SANTA MONICA PLASTICS BUYS FROM. 

 

PP ACRYCAST:

“CAST ACRYLIC SHEETING FOR USE IN THE MANUFACTURE OF DISPLAYS, SIGNS, HOUSEWARES, AND SKYLIGHTS”

 

 

WHERE IS PORT PLASTICS LOCATED? 

EVERYWHERE.

 

A WEB OF CORPORATE RELATIONS TIES DISTRIBUTORS AND SUPPLIERS.

 

DIFFERENT COMPANIES OPERATE AS SUBSIDIARIES OF BIGGER COMPANIES, AND THE ‘HOLDER’ OF THE PROVENANCE INFORMATION IS HIDDEN THROUGH THIS WEB.

 

 

 

DETERMINATION:

 

ALL THAT THIS WITNESSES.

 

 

 

 

CP ACRYCAST:

 

THERE ARE TWO BRANDS, ACRYCAST AND ACRYCAST2.

 

:ERROR

 

 

"FEATURING

 

[ACRYCASTLOGO_CELLCASTACRYLICSHEET]

 

OUR OWN BRAND OF CELL CAST ACRYLIC SHEET THAT

MEET AND EXCEEDS ALL INDUSTRY EXPECTATIONS.”

 

VISIT TO CP

 

ENTRY INTO THE INDUSTRY. 

 

INFORMATION NODE. 

 

COULD BE CLOGGED, OR CONNECTED.

 

IT IS CLOGGED.

 

POSSIBLY, IT’S THE CASE OF BROKEN INFORMATION REGARDING THE SHEET’S ELEMENTS PROVENANCE (THE POINT OF BREAK HAPPENS WITH THE BRANDING MOMENT, IN CALI/USA). 

 

IT IS THE CASE OF BROKEN INFORMATION.

 

MORE THAN BROKEN, DISPERSED AND UN-RESUMABLE. 

 

 

ELEMENTS HAVE TO BE ASSUMED TO COME FROM EVERYWHERE. 

 

 

DETERMINATION:

 

ALL THAT THIS WITNESSES.

 

 

WHAT IS THE ‘POINT OF CONTACT’? THE POINT OF RESUME? THE EPICENTER? 

 

 

 

 

I AM HERE.

 

 

 

LISTEN TO ME.

 

 

 

THE OBJECT IS JUST A COPY. IT’S FEATURES RAISON D’ÊTRE IS JUST THAT IT’S A COPY. LIKE A CELL, SOMEHOW.

 

BE IMMORTAL.

 

KARL MARX CAPITAL VOL I CHAP 1 ON COMMODITIES

 

BE IMPORTANT TO DEVELOP A CONCEPT, THAT COULD THEN GROW INTO A FORMAT, THE FORMING CENTER FORMAT.

 

PICK A MATERIAL

BUILD THE MODEL

BUILD THE OBJECT

UNDERSTAND ITS HISTORY

 

NEED FOR RICHNESS.

 

 

IS WESLEY (BRIEF) 5OCT21

 

 

FRICTION?

 

UNDETERMINED VARIABLE.

 

 

THE SPACE AND CONTEXT BEING SPOKEN TO.

 

 

UNIQUELY PICK, DRIVE ‘CONTEXT’.

 

 

DISPOSAL_____? JUST SIGNIFICANT.

 

THE OPENNESS TO INTERPRETATION.

 

ALLAN SEKULA, THE FORGOTTEN ‘EXPENSIVE’ SPACE

 

✴︎ FRICTION

 

VLADIMIR TATLIN, MONUMENT TO THE THIRD INTERNATIONAL

 

UNSEEN LABOUR.

 

THE WAY YOU EXPERIENCE THE WORLD, THE WAY IT MANIFESTS IS THE WAY THIS OBJECT IS,

AND LURE.

 

TO CREATE A SILENT FICTION

A SENSE OF ANGUISH BY THEIR COEXISTENCE, 

THEIR INDIFFERENCE,

THAT YOU CAN APPRECIATE IF YOU HANG

DWELL IN

STAND BY DURATION

THROUGH DURATION

— THEN IT REALLY FALLS SHORT, AND YOUR SENSE OF COMPLETENESS IS OUR OFFSPRING. OUR CHILDREN CAN PLAY HERE.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

BUT THEN AGAIN, 

TO CREATE A SPACE OF AMBIGUITY.

 

 

 

SNAP ACTIONS

 

TO GO TOUCH THE SILENCE THAT

CAN REALLY INFORM ON THE REALITY OF THE WORLD THE PROJECT IS EVOKING.

 

 

CREATE A NORM FOR THE SCORE.

ADD ANOTHER SCORE AS INFORMATION.

 

I AM LOST.

 

THE MOMENTS OF RUPTURE ARE YOUR REAL GOAL.

 

 

THE WORLD

(FOOTAGE | AUDIO)

 

DEGRADING ELEMENT, THE LOOP

WORN OUT AT ATTEMPTING.

 

 

 

I AM LOST.

 

 

 

LISTEN TO ME.

 

 

ELEMENTARY.

 

COMPLEX.

 

 SIMPLE.

 

 COMPOUND.

 

 

JUST HOW EXPLICIT?

 

 

 

 

 

 

 

IT IS DETERMINING.

 

    LEAVING IN AN OBSCURE STATE.

 

 

       AURA

 

 

THE DETERMINATION:

 

 

HISTORY OF RELATIONALLY. HOW DO YOU RELATE TO MATERIALITY?

 

CONTRAST.

 

 

DOMESTIC

 

DYING

 

CRAFT

 

THE TREE.

 

 

 

 

THE OBJECT⎝   THE WORLD

 

 

TO GO TOUCH THE SILENCE.

 

THE WORLD.

 

WORLD

 

ROUGH. HIGHLY SPECIFIC AND PERSONAL. UNCLEAR. UNTAILORED.

OUT OF TIME. CONSTANTLY MAKING A SINGLE MOMENT.

 

THE FEATURES OF THE OBJECT ARE INFLUENCING THE CONTENT.

 

THE FEATURES OF THE OBJECT ARE INFLUENCING THE CONTENT.

 

THE FEATURES OF THE OBJECT ARE INFLUENCING THE WORLD’S FEATURES.

 

CENTRALITY IS BEING REPRESENTED.

 

THE FEATURES OF THE OBJECT INCLUDE EVERYTHING, FROM ITS CULTURAL HISTORY 

TO ITS PERSONAL JOURNEY

TO ITS CHEMICAL COMPOSITION

TO THE ATTRACTION IT PRODUCES IN YOU.

THE FEATURES OF THE OBJECT CAN BE TRANSFERRED TO ONE ONLY OF THESE THINGS, AT WILL.

A SIGN IS EQUIVALENT TO ANOTHER SIGN.

 

A SIGN IS EQUIVALENT TO ANOTHER SIGN.

 

SIMULACRUM.

 

LURE.

 

A SILENT FICTION.

 

REAL.

ZONE OF COEXISTENCE.

ZONE OF AMBIGUITY.

 

DETAILS EXPOSURE.

 

LOGOS.

ΛΌΓΟΣ.

 

THIS IS AN OPERATION.

 

THIS IS AN OPERATION.

 

AN OPERATION IS CARRIED OUT.

 

EXPERIENTIAL FAILURE OF THE EXHIBIT.

 

TO CAPTURE THE MOMENTS OF RUPTURE IS WHAT MATTERS. 

 

 

 

 

15NOV2021

:

 

A402 4-11 DECEMBER 21

 

E X P O S U R E

 

F  O  R  M  I  N  G      C  E  N  T  E  R      0

 

 

 

REQUIREMENTS:

 

 

 

WORLD SCORE

 

(APPROXIMATION:)

 

SOUND SCORE ONE

 

BLACK

 

THIRTY/FIFTY DIFFERENT SCENES. 

PUMPING. 

CLIMAX OF NINE DEGREES IN POLYMERIZING THEM. 

 

OVERLAID ROTATING SCULPTURE-CENTER?

HAMMER. GUN.

— CALSAK 

SO TWO SUNS. CALSAK CALSAK CALSAK SPM SPM SPM ME ME ME? FREEWAY?

HAND. HBO.

 

BLACK

 

 

 

SOUND SCORE TWO

 

THIRTY/FIFTY DIFFERENT MOMENTS OF THE SAME SCENES. OR ARE THEY DIFFERENT SCENES?

BLACK

— INFO APPEARS

 

 

STRUCTURE KEY NUMBERS

 

 

THE KEY NUMBERS ARE 3 (ALWAYS), 7 (SIDES), RAND OF (0, 7) (SUBSTRUCTURE ‘SIDES’), AND 9 (DEGREE SLOPE).

 

 

GET ALL THAT MILÅRDY.

 

LET THE CENTER UNFOLD.

 

BE AWARE, YOU ARE BY THE CENTER RIGHT NOW.

 

THE CENTER IS UNFOLDING ALL ACROSS THE SURFACES.

 

 

 

TRANSPOSITION. 

EQUIVALENCE.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

CHOICE.

ARBITRARY CHOICE.

 

ARBITRARINESS.

 

MYSTIFICATION.

 

 

 

APPROXIMATION:

 

 

 

 

:ERROR

 

 

 

 

 

 

CONTENT

 

 

 

 

 

 

 

 

TIMEFRAME

 

00:00:00 — 26:48:12 

DO IT AGAIN.

 

 

 

 

 

 

(YET STUDIED THE ROUTE.)

 

 

 

SOCIAL PRODUCTION CHAIN ASPECTS.

 

 

 

 

THE SHEET LAYS DOWN.

 

MOVING.

 

BECOMING A CENTER.

 

IT IS TRANSPOSING.

 

IT IS PLAYING ON EQUIVALENCE.

 

 

 

 

 

“I DON’T WANT TO DIE”

 

 

“I DON’T WANT TO BE PRETTY”

 

 

 

 

 

TWO SUNS.

 

DRILLING. 

POURING?

 

 

 

EVERYWHERE

 

IN DOMESTIC® ENVIRONMENTS.

 

BRANDING.

HAMMER AND GUNSHOTS.

HAND AND GUNSHOTS.

 

 

I AM LOST.

 

 

LISTEN TO ME.

 

 

EXTRACTING THE UNESSENTIAL UNSPECIFICITY OF A POINT AS INFORMATION TO BE ADOPTED BY ANOTHER POINT.

 

TRANSPOSING THE ROUTE.

 

THE EVERYWHERE BECOMING THE UNDEFINED.

 

 

SEE?

 

 

THE POLYMERISATION IS COMING TOGETHER.

 

 

 

THE OBJECT IS CENTRAL.

 

 

 

 

DRAFT 1

 

 

THE OBJECT IS IN THE SPACE. NO REASON FOR ITS SHAPE (LURE).

(ERROR:)

 

THE CONTENT IS CUED BY THE OBJECT’S FEATURES (SPEED, NUMBER OF SIDES, ETC.).

[TO CHARGE FOOTAGE WITH ‘SNAP’ SOUND TO MARK NUMBER CHANGE.]

THE OBJECT IS CENTRAL TO THE CONTENT.  

THE OBJECT IS THE CONTENT.

CONTENT IS  SHAPED  AS OBJECT, OR OBJECT IS ATTENTION CATALYST  IN  THE FOOTAGE.

INCLUDE THE FEELING OF ATTRACTION YOU FELT FOR IT. TRY AND REPLICATE IN THE WAY THE WORLD CONTENT IS COMPOSED THE SAME FEATURE IN THE OBJECT THAT MADE YOU FEEL THAT WAY.

CHOOSE A MATERIAL, IDEALLY DARK METAL.

GROUP PAIN AND GLORY OF THE AREA IN THE CONTENT.

 

 

 

CONTRAST

 

CONTRAST

 

CONTRAST

 

 

 

 

SCALE

 

 

 

MODELLING.

 

 

 

METHODOLOGICAL POLARITIES.

 

 

VALUE

 

INSERTION AND RESONANCE OF EXTREMES WITHIN ITS SPHERE. 

 

 

 

 

 

 

 

 

 

THERE IS A PAST.

 

 

 

 

 

 

 

HAVE YOU TRIED TO WRITE PARADISE?

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

MYSIFYING

 
UNTITLED  (POEM  A)
DSC00782.jpg

POEM A EXPOSED D300 

Poem A

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

TAKE THIS 

LITERALLY

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Poiesis

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Loss

 

 

 

Loss

 

 

 

 

 

 

 

 

 

 

 

Loss

 

Evocation

phenomenally Present in living presently

Presently

 

 

 

 

 

  

undefined

Is this a space of

Why do you put something on a horizon

EXHORTATION 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

WITNESSING 

the rise of a system of realising and feeling cues

 

 

This fixation

 

And this renaissance also applies to love.

 

Any environment is total

 

       incredible

 

 

 

 

 

 

 

minds Unstirred

 

 

 

 

through a wide wasteland

Recall that system

Cues

Cues

Blue Skies Solid

Light

Body Diff.acts

in liq. in sun

ποίημα

RUPTURE 

of a-place-of-names of only thing of Every

 

realising now How many details    

blue skies — solid colors

— s.     blue | Objects

realising now 

objects of your life    realising now 

| objects |

of your life realising now 

Isolation on the plains of Happiness.

 

Everything w/a light that Blinds 
the tension the pleasure the ache a Trepid

 

Blind

Blind

Touching and going the distance.

 

 

 

Rays

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Rays

 

Where is the Architecture  

Everyone is talking about?

Resisting overground

to  make Your transition®

B-Buried overground 

Where is that same structure?

 

There must be a skeleton

To all this flesh.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

To revolt

 

 

 

To take me to yourselves from places

barren and full like felt full  

The transparency you bring is grace

The transparency you bring is grace

Transparency In grace loss for fear of loss

For fear of living You    Aversion to risk   Unripe 

lack of Construct   Lay out   Awareness   and coalescence

In need of giving      —Every thing Solving 

In Selection 

ReIteration

Selection 

ReIteration

and cetera and care.

 

For the future of labor is care jobs.

 

On a translucid hour

On your emotional field On this field you make room for me

and I come I breath

and I make shapes with my eyelid,

and I offer my shapes to be slain 

or for grounding,

Whatever they will prefer

need or care

To give 

 

 

 

 

 

 

 

 

 

Make part of you

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

part from you

Vast spaces organized by Reason thus myriads playgrounds for 

  Demons

I am an alien and a citizen 

On one more translucid hour

 

Those who are without association with me are ignorant of me, and 

  those

who are in my substance are the ones that know me

And I will not move the name

To the one who created me.

 

Those who are without association with me remain

Ignorant of me

Remain steady

There is where the fire resides.

 

 

 

Someone tied to their personal reality

And to the evidence of this reality

In the world. Blinded

By that evidence, like we get blinded

By the narrowest beam of light.

Someone who cannot/couldn’t 
Thus won’t go beyond/let go 
Of this limit

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

They help me go through all this pain.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

God HELP ME SURVIVE TIS KILLING ME

My God, 

help me to survive this deadly love.

 

 

 

 

 

 

 

The apparition was a success

 

 

 

 

 

There must be an airport nearby

Is this City 

Come close to me

 

Keep on writing poetry at that voltage

 

We will not descend

We will not

Descend from this calvario

 

Not together

 

Am in a-place where no one 

Can speak my language

But I am language

Am in a-place where no one

Speaks my language 

Age of Distance

Hear Me Out:

Ever is the word written on your lips

No 

Centuries hoarded

Behind your back,

Don’t they hurt Your sense of presence?

Ever is a word 

Centuries hoarded bla 

bla bla till 

Finally the pelvis rose like a moon.

 

Gentle reader, this is for you

At the heart of the discourse !Pursue Awareness!

Do you want to tame the animals?

 

 

Do you want to tame the animals

 

 

A collar 

On no leash

Blinks on my neck

as I keep waiting for you,

Τειρεσίας.

The young me was weeping because the young me has tears

And no deceit is in me

when you walk in and open the fault There is the opening Where 
navigare necesse Somewhere far where You too felt like crying 

the long and warm tears of your young eyes Where 

“there is no darkness but ignorance”

 

 

 

Just words you read on a pedestal.

 

 

 

Cannibals

 

 

Caught in unstillness

Constantly

 

 

 

To which I replied: I am not.

 

 

 

ringa-pin'pin' on the high altar at the Bach choral

TRUE as a pistol shot

 

 

must B-True as a pistol shot to

simply p.ceive Light

and Flesh In this city 

Of a serpent God

Hissing 

for its life

While I'd been hibernating in holy matrimony.

 

 

Now Everything is already brighter.

 

Bright

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Bright is my future with you

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Come on, 

A frieze already covered with sweat

Come

 

 

Come on Come in closer

 

 

Yes yes, we hear you:

 

 

This body is stretching out from its shore 
Reaching out for other bodies 
Made of other lands.

The United States flag is stuck in a field among other flags

For fire to walk with me

from France in Flames

GOD! help me stay alive among this mortal love

 

 

 

I       Examined it

:

…… petro …… rogo

Adamantina……

Rulers may explain the experience

und weiterhin ist noch Folgendes lesbar:

___sign ___ which shall liberate me

sign___

sign The eyes of mine

 

 

Vehicles of flight

Begging for love

 

 

 

 

 

 

we begging for love

 

 

 

 

 

 

 

 

 

for More

A number of definitions 

Interact with each other according to their degrees of completeness or inclusiveness 

A definition’s ability 

To Conceive all its effects and consequences represents, 

implies the other

Sunshine Musing

 

 

 

 

 

where is More

 

 

 

 

having had loving parents

I hereby pledge the entirety of myself

To direct my preserved energy 

Where is Imperative?

 

 

 

The truth is

I wish you could see with my own eyes

I wish I could see with your own eyes

 

Americana

et Aida

We innovators of Space and

Queer  -Ubi amor ibi oculus

-thy mind

È amore è l’occhio

 

 

 

Where is love there is the eye

 

And that the truth is in kindness

 

 

 

 

 

 

and clarity in thy rule

 

 

self in thy mouth

and life in thy revol.tions

and ecstasy

passion in thy metastases-

Norm in thiself

0  ⃕ 1

thru perversion 

 

and yes (a)we no longer make(s) Gods Out of beauty

 

 

 

That’s all I have, literally all I have

 

 

 

 

And I am laying it out for you

 

 

 

 

 

 

 

 

 

 

 

 

 

And I am laying it out to you

 

 

 

 

 

And the bull the force

That is in Me is running 

Over you

 

 

 

Is running over you

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Is running over you

 

 

 

 

 

 

You are surpassed

To implement domination

Literally

 

 

            m’amour,  m’amour

    what do I Love and

                where are you?

 

 

 

That I lost my center

courting the world.

 

 

 

 

Do not move

 

 

Our world that I saved us for/from memory

 

 

I I wanna make

 

 

I I feel like

 

 

That this is just too good

 

 

I love this so much, Clemente

I love everything about it

I love it deeply,

deeply

 

 

Yeah

 

 

I love it deeply

real Deep

 

 

Perhaps

 

 

I think

 

 

and to know the share from the charge

With which

You 

Charge

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

At 

Me

And to know 

The share 

Of the charge

With which you charge at me

Do you realise

 

 

Do you realise?

 

 

 

 

 

Do you realise?

 

 

 

 

I don’t think you realise

How Much

 

 

and in these triangular spaces?

Minds sunned as lizards

That’s all I want for you,

I am just so pleased

I wanna be 

 

 

 

A symptom of culture

 

 

 

 

Brainfeeder

 

 

 

To describe

The trouble with description is worth sticking with, for a moment

 

 

against systemic closure

With me, language is no longer pictorial

It does/configures

 

 

Configuration as Factive,

here

Tις non-mimetic

And Real

 

 

That the reality of the conf. consists of its effects —

Conf. Being merely a specific combination of its peculiar elements, 

is nothing outside of its effects.

 

 

 

 

This trouble with describing might even be something like-a 

High Level reproduction

Of my own rationale

This rationale raised to the point of Junction—

 

 

to Deep kiss that junction,

 

 

Diesen Kuss der ganzen Welt

der ganzen WELT

 

 

 

 

 

 

Do your thing

 

 

 

The adjectives are

The you, involved by the center, and the general you,

Against the walls

 

 

What do I feel? What am I feeling? What is it?

In theory, 

A sense/pres. of confidence of wanting I/want to get what you desire

Yet, getting there is tiresome, complex, unpleasant

Do you really desire it?

Don’t you instead Desire that no gap be around you that everything 

be adjacent You just having to lean on it and be brave?
Be 

brave? 

And keep feeling it Keep feeling what you want. This feeling is

Always adjacent

Present

Still

What do I feel? What am I feeling? What is it?

Sense Of distance 

keep floating across my mind

I don’t have, 

I see but I am detached 

Of silliness Of formality Of show Of unload 

Of little INTENSITY Of embarrassment 

in Front of rawness crudity sharpness intensity, 

Of not knowing how to handle it. If I crave touch but flee contact

 

What do I really want?

OMNIA In Civitate Dei 

innit?

Please answer me.

 

 

 

 

 

 

 

 

 

 

 

Do not look the other way.

 

Do not betray me.

 

 

 

Lucid Wildness

and the presence links me

 

To Crafting

 

In the name of Europe

What Do You Feel?

 

When you feel the discomfort of fragility and disorder

 

Control

Excess

 

These two things next to each other are interesting.

That somehow it Should

Exceed itself.

 

If you Will

 

The palette was kindofa summary ov

all Light Sources

 

Light sources

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

My light sources?

 

 

Sort of implying
a Certainty of life

To receive more light

That there is growing happening,

Somehow.

Not agreeing to the logic of light in this room

And that’s interesting.

That’s interesting.

 

Think of That alcove as a shelter

But also as something else that shadows

 

Just think It is very interesting that someone is making work today

With More than a Messaging System

Against the dustiness of the palette, The Feeling of the Piece.

 

This Ultramatte Finish

A little bit of… yeah, 

Gray.

Control

Excess

 

 

Control

Excess

 

 

 

 

 

 

 

 

 

And I think 

Serially in love terms

 

 

Get in line

and look closely

The idea of borrowing something from history claiming it and 

  bringing it back in

This is a type of line that has an end and is cut

Purposefully

See

 

 

See

 

 

 

See:

It gets darker towards/in Highness/The Top

And lighter at the tips

Your sensibility

 

 

Sense,

please

 

The Clean Literal Reading

 

 

 

Hang on

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

don’t wanna have sex with them I

 

don’t believe in their philosophy

 

 

 

 

 

 

 

 

 

 

 

just can’t sleep with cops

 

 

 

 

 

 

 

Disintegration is a moment of propulsion

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Hang on

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

(Getting you to see)

 

 

We are in the field

 

 

 

 

 

 

 

 

 

 

ok Good

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

now 

if Realising begins with conceiving 

And arises in representations 

 :

 

A back bending in an open field

 

 

(if I felt more like I was participating than viewing,)

Do you think that is a poetic thought?

 

 

 

Is the feeling one of like, uh,

You will not master this

You will have to go 

to a new kind of non-Mastery

Zone

of

 

of

 

of

Oneness with it

to get to the next thought

 

 

Or is it like, 

 

 

More Natural,

 

 

This stuff and the connections you are trying to make

Don’t connect

There is not a meaning

and I do not signify.

 

 

 

 

Have these things fray

Through clean

Excessive bodyliness

About what is pure and above and untouched

 

We aren’t supposed to reject

Perfect and Broken just cos they

don’t fit Our community

 

But we are adolescent, in our new riches.

We are savannahs in thy words C.

are savannahs in thy eyes Brighid

 

are beauty in thy mind 

 

 

 

 

 

 

 

 

 

are Kinda nice to keep in mind
that

 

 

 

 

 

      .                                   .

.                 .

         

            .

                            .

 

 

 

 

 

 

 

 

 

Maps the Uterus,

Testicles and Glans,

but really are only Wounds

oh-well 

iff 

you’re trying to bring up the non-binariness of the offering,

Go ahead —

— We, The People, 
Read you

 

Loud and Clear

 

While ’em all w/out names or numbers keep dying around You

death is in the game 

While nothing escaped the attention of the 

artists and artisans.

 

 

To feel discomfort 

 

 

Allow Yourself the luxury of feeling discomfort 

 

 

Get in here

Precious To be able to feel discomfort 

While you’re cared for

While you’re watched over

 

You’re safe. 

 

 

I feel you.      Walking by me and looking at me, 

    gisme me goose bumps    

 

 

 

 

 

 

Don’t think too loudly

It is a mild evening in Los Angeles

 

 

For God so loved the world

that E died for it

 

 

 

 

 

and the Amazons sliced their breasts off 

to Hit the target

 

and Drexciya More b/ond two in DT

JamesGerald 

Stunning Black Mythos     

Aggr. Energy Accelerations 

bursting open that cultural sphere

Power Unilaterally

    authorial Is agency

  Clear

Certainty

Fire

Energy 

From emergency in/to thy mind and everywhere it must

ARE THEY MORE ADVANCED THAN US 

DO THEY WALK AMONG US

AND WHY DO THEY MAKE THEIR STRANGE MUSIC 

from emergency in/to thy mind and everywhere is rightful

AND ON TO THE GREAT LAKES OF MICHIGAN 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Of the most profound narratives,

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

If you listen,

 

NO NEED NO NARRATIVE

 

PULSE

 

what If the originary Blackness of techno

Is Becoming less provincial, less literal, and, perhaps above all, less Black

In the process of offering an Alternative humanism

SEARCH+DESTROY+TO BE 

CARRIED OUT DURING WINTER EQUINOX

So natural 

Reclamation and Abandonment of a Colorless truth

Here to BURNE You

 

 

But you won’t find this article’s quoted, 

All-caps passages in those re-releases, 

Nor any other finer notes, imagery, or, truly, any of His radical touches that made the work equal parts universal and unique.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Committed to a revolution 

Consumed for lust

Isn’t there a sense of liberation from contingency?

 

Let the human stand down.

 

US— MI— DT— UR: A universal 

homeland With black roots 

[UR] offering what is most valuable : Values

Resistance : A sense of self-exploration 

experimentation and the ability to change yourself and 

circumstances. Additionally, 

U[R] wanted to establish a means of identification beyond traditional lines of race and ethnicity. By targeting lower class African Americans, 

U[R] intended to inspire black men to get out of the poverty cycle in the city. It was about providing new ways for lower class African Americans to form their identities and in thy words a further

Stunning Reality

That cannot be expressed

Remember the pain

 

Never forget the pain

 

to find 

Black feathers 

In my 

Shoes 

is incredible is

HOW MUCH YOU SEE           HOW MUCH RAW

COMES TO YOU               HOW MUCH THERE IS

 

 

 

I am an open wound

 

 

You’re bleeding

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Does your choice 

attain The same value 

if taken for lesser reasons?

 

 

 

There’s a little bit of fugitivity here

 

 

A little bit of playfulness here

 

 

Because there is so much warmth in here

 

 

Rage

 

Circuit

In circuit

 

In what space are we circuiting?

 

 

 

 

 

There is a past to this

That you aren’t witnessing

 

 

 

 

 

That past

transformed into present

 

 

 

 

and Pierre’s still making Work that changes

Drawing m/re Restraint from so-much-stuff done instead

Thru Inertia

 

 

Il faut que Vous   Must represent

for A representation is a definition of your world

for In effect, he’s always courted the presence of another reality.

 

while Realise

bears all its senses

To represent To autonomously Set free what is conceived

Give it form: create its corresponding,

Concretely Realized Experience

 

 

To Be mortal

 

 

do not Die

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

do not Die There is a world out there grab it as it goes by in

this transparent half hour walking all our suns we come up on the island The top half shifted off 

the bottom half We can cross into theater here In the middle another ground is formed 

Our children can play here

What was that? 

 

 

Did you just touch me?

 

 

I long for some kind, 
perhaps any kind of physical contact

 

 

 

The right physical contact

That is

 

 

 

Do you want to rent a room for tonight?

 

 

 

The city ends. 

{The city is dead.}

Long live the city.