VIDEO WORKS
NA TO THYMASAI. FINITE EYES LA PIÉCES I - V PORTRAIT TOULOUSINE THE ROAD FROM THE STUDIO
UNTITLED (SWANS)
NA TO THYMASAI.
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
[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
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
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
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)
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.