Everyone knows, you can’t predict an earthquake.
It’s terrifying to look at the present and recognize that rather than ending this kind of violence we have democratized it.
I was baffled by two things: one, that God would be calling me,
I wouldn’t say I see anything to lead me to believe that this is a different kind of cycle
in voice-over: “Now it’s time to open a second parenthesis, and to describe the emotions of the characters.” It cuts out three more times,
objects that then reshape themselves or self-assemble over time
So on my way home I get off at Pearse. an unusual stop for me. Walk in. End up in Sweny’s a magical old chemist bookstore. It seems like it would have a hand. I go in and look around. It is wonderful. Old bottles. Wood shelves. Books about fragments of an old but disused chemist. Two gentlemen one orderly the other rather non description but covert. The older chap starts in about Walsh from my asking about the day it being Easter and how was business. He proceeds to go into some depth but is far over my head and I have no idea what this clerk with Bow tie, white lab coat and Dali like facial hair is recalling. History of the Walsh. CUT He then explains they do Joyce readings there and points to chairs lined up with cushions behind the counter. CUT I ask if they by chance have a spare hand for me. He then reaches or my third hand and examines it. Detailing or rather reading it. It is an artistic hand he indicates knowingly. You can tell by the two centre fingers pointing inward of each other. The line at the base of the thumb where he points and says this line means a medium will be located. I fade as he twists the hand round and says something followed by this means they are intelligent. He states a few other observations. He finally is reading my palm. He looks at my hand and re states the previous…
There is something regarding ‘displacement’ at play within the works that leaves one disconcerted.
Let me (or you) listen to me (or you) and not to them (the audience).
An audience is always warming but it must never be necessary to your work.
It is funny how language is refused and then indicated as a structure for its refusal. Not much refusing really.
Expectations. What people are accustom to and come to be comfortable with. The interviewer reveals as much by the questions they ask as the interviewee declares through their response. Spaulding Gray would get people from the audience and basically interview/talk with them. This could be a means to disrupt the situation of the “artist talk” and the parameters around what has come to frame it. I suppose I have a tendency to establish a scenario where its very nature demarks it’s objective and its devised so that it can be interjected and have its trajectory malleable by these gestures. But don’t think this is any way a means of sidestepping definition but a communal space where we can all speak and create meaning together.
I am affected. It’s in equal parts. That is the objective.
light discussions on the subject matter of imagining an imaginary menagerie manager imagining managing an imaginary menagerie
What else can a thought be but caught between things? It seems inherent within language itself.
But is a moment that cannot be explained; it can only be experienced.
If what they say is true may not be ambiguous and filled with multiple meanings, as much as it actively tries to resist all meaning.
But we cannot quite explain it through the magic of words.
An opened ended mystery that is meant to be sensed rather than read.