To unbend sense, to fascinate us in the face of the form that opens up to dispose us to contemplation, demands the interpretative sacrifice in virtue of the rightness to things of disarticulated perception, the abandonment of the hierarchical status of narratives. Nullity of sense found beyond its very perception - further here, in the antechamber of events, in that place where things are not yet this or that.
Showing ourselves in fascinated contemplation does not mean being seduced by the structures that make form possible. On the contrary, the abandonment of intellectual understanding leads us to be dazzled by that which lacks discourse or argument, that which is organised in the contingent and marvellous structures of matter, in the immense inertia of all there is. To break the sense in order to spill it; to sicken the macula, to awaken blindness, to fascinate the gaze and the listening in order to dismantle the whole world.
The cyclical structure allows the space to unfold as a room where the story, the fable and the game are subject to the contingecy of the desiring transit. A nocturnal cloister that strains the gaze, allowing the eye to recognise itself in the oscillating rhythms that rapture us and draw us back to repose.. This composition safeguards the choice of a fragile rhythm which is placed in an uncertain centre, an insistence that betrays the very sense of appearance and the dissolution of its circularity. Thus the event spills over the structure:
«the image is concealing itself. the path becomes blind—an appearance that knots itself and pushes inward the hidden facets of the tangle. a gaze that seeks to merge with the image fails in its interpretation until it reaches the omen. as the image turns away, the relationship of sense and deduction that is forged is entrusted solely to divination. in a matter that buries its methodical sense within rhythm and pause, the notion of linear consciousness is unraveled until it forces the eye to waver. from this contemplative hesitation emerges the secret aspect of these elusive and twisted images.»
The sonic play offers a constant relay to the image, unveiling warnings that find no confirmation except through premonition. From sound emerges the intuition of a fold immanent to the body that listens, filling space with places that are only born to vanish. Sound enables the bilocated narrative.
We contemplate an inward retreat, a regression that obstructs meaning, seeking to generate an unruly vigilance toward the experimental nature of the gestures that accompany perception and overcome it. One must enter non-sense with claws suffocated by surrender. The cycle unsettles the perception of imaginaries, for we no longer know when we are inside or outside of it. There is a risk of disintegration—of becoming the fable itself. The parable sets itself in motion.
Showing ourselves in fascinated contemplation does not mean being seduced by the structures that make form possible. On the contrary, the abandonment of intellectual understanding leads us to be dazzled by that which lacks discourse or argument, that which is organised in the contingent and marvellous structures of matter, in the immense inertia of all there is. To break the sense in order to spill it; to sicken the macula, to awaken blindness, to fascinate the gaze and the listening in order to dismantle the whole world.
The cyclical structure allows the space to unfold as a room where the story, the fable and the game are subject to the contingecy of the desiring transit. A nocturnal cloister that strains the gaze, allowing the eye to recognise itself in the oscillating rhythms that rapture us and draw us back to repose.. This composition safeguards the choice of a fragile rhythm which is placed in an uncertain centre, an insistence that betrays the very sense of appearance and the dissolution of its circularity. Thus the event spills over the structure:
«the image is concealing itself. the path becomes blind—an appearance that knots itself and pushes inward the hidden facets of the tangle. a gaze that seeks to merge with the image fails in its interpretation until it reaches the omen. as the image turns away, the relationship of sense and deduction that is forged is entrusted solely to divination. in a matter that buries its methodical sense within rhythm and pause, the notion of linear consciousness is unraveled until it forces the eye to waver. from this contemplative hesitation emerges the secret aspect of these elusive and twisted images.»
The sonic play offers a constant relay to the image, unveiling warnings that find no confirmation except through premonition. From sound emerges the intuition of a fold immanent to the body that listens, filling space with places that are only born to vanish. Sound enables the bilocated narrative.
We contemplate an inward retreat, a regression that obstructs meaning, seeking to generate an unruly vigilance toward the experimental nature of the gestures that accompany perception and overcome it. One must enter non-sense with claws suffocated by surrender. The cycle unsettles the perception of imaginaries, for we no longer know when we are inside or outside of it. There is a risk of disintegration—of becoming the fable itself. The parable sets itself in motion.