In Like a Leech, Out Like a Lamb:
A Lecture in Ten Scenes
by
Studio for Propositional Cinema




SCENE 1. INAUGURATION

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INAUGURATION! INAUGURATION! PROCLAMATION!

THIS IS AN INAUGURATION! THIS IS A CALL TO ACTION!

ACTION!

WE ARE STUDIO FOR PROPOSITIONAL CINEMA.
WE ARE FOR THE DISRUPTION OF LANGUAGE.
WE ARE FOR THE DESTRUCTION OF LANGUAGE.

OUR LANGUAGE IS NOT POLEMICAL, OUR LANGUAGE IS CAUTIONARY.

IN A FIELD WHERE DEVIATIONS AREN’T TOLERATED, IT IS NECESSARY TO PRODUCE MUTATIONS.

MAY I HAVE YOUR ATTENTION PLEASE? THIS IS AN INAUGURATION!

WE ARE FOR PRODUCTION AND THE NEGATION OF PRODUCTION. WE ARE FOR DISTRIBUTION AND THE NEGATION OF DISTRIBUTION. WE ARE FOR RECEPTION AND THE NEGATION OF RECEPTION.

YOU DO NOT WANT US BUT WE ARE ALREADY INSIDE YOUR HEAD.

WE ARE A PARASITE ON THE INSTITUTION OF CINEMA, AN INSTITUTION OF PARASITES. WE SUCK OUT THE LIFE BECAUSE WE LOVE LIFE.

WE BELIEVE THAT IMAGES ARE INTENDED TO SERVE AS MODELS FOR ACTIONS.

WE DON’T ASK “WHAT IS CINEMA?” BECAUSE…

ATTENTION PLEASE! EVERYBODY LISTEN UP! THIS IS AN INAUGURATION AND WE WILL NOT REPEAT OURSELVES!
WE DON’T ASK “WHAT IS CINEMA?” BECAUSE WE BELIEVE IT IS THE WRONG QUESTION. THE VOCABULARY THE WE HAVE INHERITED IS IMPRECISE AND THE OLD DEFINITIONS ARE CONSTANTLY SHIFTING.

WE DO NOT WANT TO PROPOSE NEW OR MORE ACCURATE TERMS. WE THRIVE IN THE AMBIGUITY OF THEIR LANGUAGE BECAUSE IT IS A SPACE OF FREEDOM.

IT IS NOT OUR JOB TO DEFINE OUR ACTIVITIES. IT IS OUR JOB TO ACTIVATE OUR IDEAS. WE INVITE YOU TO ATTEMPT TO DEFINE AND EXPLAIN US. YOUR IMPULSE TOWARDS EXPLANATION IS THE DISTRACTED STATE THAT WILL ALLOW US TO ACT.

WE ARE ON THE BRINK OF THE ABYSS!

WE BELIEVE THAT THE DAYS ARE NUMBERED FOR NON-CONTRIBUTIONAL CULTURAL PRODUCTION.

REDUNDANT STATEMENTS PROPOSE NOTHING. WE REJECT REDUNDANCY AND THEREFORE REJECT EXPECTATIONS.

WE ARE NOT INTERESTED IN TELLING STORIES, WE ARE INTERESTED IN TELLING LIES.

OUR FICTIONS FUNCTION AGAINST THE PROGRAMME. WE RESERVE THE RIGHT TO NOT REVEAL WHERE THEY END AND BEGIN.

OUR NARRATIVES ARE BOUNDLESS, AND THEY HAVE NO FORM. THEY ARE HOMELESS AND NOMADIC AND TRANSLUCENT AND ATEMPORAL.

WE TOO ARE HOMELESS. WE MOVE THROUGH THE WORLD LIKE A VIRUS.

WE ARE EVERYWHERE AND WE ARE COMING FOR YOU. OUR ONLY HOME IS OUR CULTURE AND OUR ONLY NATIONHOOD IS THE STATE OF BEWILDERMENT.

THE ONLY THING WE ARE CERTAIN OF IS TIME. TIME IS THE MATERIAL OF ALL DISCOURSE.

INAUGURATION TODAY. INAUGURATION TOMORROW. THE STUDIO FOR PROPOSITIONAL CINEMA IS OPEN. WE ARE EVERYWHERE ARE WE ARE COMING FOR YOU. WE’LL BE PLAYING HERE EVERY DAY UNTIL THE END OF THE WORLD.

WE WANDER AROUND THE NIGHT AND ARE CONSUMED BY FIRE.

ACTION!




SCENE 2. GENERAL CONDITIONS…

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GENERAL CONDITIONS FOR THE PRODUCTION AND EXHIBITION OF IMAGES

1. Within our current cultural and technological condition, wherein image production is potentially endless and infinite, wherein human vision can be captured in real time and without end, to engage with depicting the natural world in a temporal space outside of live-feed transmission (i.e. focussed on particular moments) necessitates radical editing.

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2. If, in the past, the photographer’s goal was to search for conditions allowing for singular images and to capture them at an ideal moment (or allow them to pass forever unrecorded), the photographer today is in the position of capturing many or all moments, then searching for the singular images within them.

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3. If the photographer’s role shifts from image capturer to image editor, the photographer’s emphasis must shift from the recording of singular moment to pluralistic moments, from subject to situation.

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4. This shift suggests that, if the photographer once searched the outside world for specific moments, now a set of potential situations or possible scenarios based on probability or improbability of potential culturally relevant images must be constructed.

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5. The image capturer is superseded by the image recordist. The moment is superseded by the situation. Singular images are superseded by footage. The recording process is superseded by the editing process. All given conditions of the production and exhibition of images are suspended and malleable.

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6. The physical relationship between the recording device and the subject of the recording is still based on spatio-temporal material realities. Unlike simulations, not all moments are viewable from all potential angles and distances. This presumes that the role of the recordist is still important for the production of culturally relevant images.

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7. The physical relationship between the image and the viewer is still based on spatio-temporal material realities. Unlike computers, the human mind can only process a finite number of images in space or in secession. This presumes that we must still consider the specifics of viewing conditions in which images are presented as primary to their reception.

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8. The temporal and monetary conditions of the former model of image capturer necessarily supposes the subjectivity of the photographer. The selection of singular images from within existing footage within the new model also necessitates subjectivity. The levels of production, of editing, and of presentation each involve layers of subjectivity, each of which can be utilized or mitigated based on the needs of the producer or producers of images.

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REGARDING CONDITIONS OF PRODUCTION

1. The conditions of recording and/or editing may be imposed by the producer or producers.
2. The conditions of recording and/or editing may be imposed by a third party at the request of the producer or producers.
3. The conditions of recording and/or editing may be imposed by pre-existing conditions, by chance procedures, or other compositional/anti-compositional strategies, at the behest of the producer or producers.
4. All these conditions must take into account the potential for a multiplicity of images, as they can best be used to exploit the discursive qualities of the others (montage) in relation to the conditions of their exhibition (space and time) and their actual and potential social conditions (viewers).

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REGARDING PRODUCTION

1. The recordist need not be the editor of the footage.
2. The editor need not be the recordist of the footage.
3. The producer or producers of the image(s) may occupy both, one, or neither roles.

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REGARDING EXHIBITION
1. The material conditions of the exhibition may be imposed by the producer or producers, and/or the given properties of the situation in which it takes place.
2. The technological conditions of the exhibition may be imposed by the producer or producers,and/or the given properties of the situation in which it takes place.
3. The spatial conditions of the exhibition may be imposed by the producer or producers, and/or the given properties of the situation in which it takes place.
4. The temporal conditions of the exhibition may be imposed by the producer or producers, and/or the given properties of the situation in which it takes place.
5. All elements can and must be considered part of the material of the images themselves, as they relate to the world in which they were produced and they exist.

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REGARDING DEPICTION

Depiction implies reflection. Objective recording is by nature not reflective. Only by reflectively editing and re-presenting objective recordings of social space can images of human conditions and activities provide space for cultural and political critique. To depict and present the world to itself is itself a political act.

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AS SUCH:
1. We believe in depiction.
2. We believe in using any means necessary to create relevant depictions of human beings.
3. We believe in presenting depictions of human beings to human beings.
4. We believe in utilizing all material, technological, spatial, and temporal conditions available to us in order to present these depictions.
5. We believe that montage is the discursive space that can best exploit all given conditions.

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AND AS SUCH:

1. We will create the conditions for images to be recorded;
2. We will create the conditions for images to be selected;
3. We will create the conditions for images to be exhibited;
within the context of the primacy of their relation to:
1. Other images with which they can exist;
2. Spaces of presentation within which they can exist;
3. The viewer for whom they exist;
as best they can act discursively within these conditions.

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Time is the material of all discourse.




SCENE 3. A DOOR LEFT OPEN…

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A door left open is an accidental invitation for occupancy. Occupation implies use: a verb. Entrance pre-supposes action.

Each new space entered contains a potential for a new action: new behaviours, new modes of conduct, new proposals for the occupation of space.

A door can be left open to a house, to a car, to an institution, to a passageway… Every room contains potential.

Most doors are locked. Entering a left open door implies trespassing. Trespassing implies a reconfiguration of how the entered space was meant to be used. Such reconfiguration implies operating counter to the desires of the owner of the entered space, an explicitly illegal use of privately owned and operated property.

We do not believe in property. Property pre-supposes ownership, and ownership pre-supposes accepted modes of behaviour, conduct, and occupation. To submit to property is to be complacent to the given structures.

We do not believe in property, and we reject impositional structures.

We seek doors left open, and we enter in the night. Each new space we enter offers a new potential for freedom, to act counter to or oblivious of the received modes imposed upon us.

We ignore or alter all signs that instruct manners of use.

We enter spaces, anonymously and silently, or loudly proclaiming our presence. We enter and leave without a trace, or alter irrevocably. We let each new space dictate our relation to it. Every new context is a site of production or destruction, of learning or forgetting, of proclamation or disappearance.

Since doors are rarely left open, and these accidental invitations rarely appear, we seek to pry open doors and let them stand as symbols, to invite the next passerby to enter and create their own propositions.

Trespassing breeds anonymity. An anonymous space is a free space.

To enter a space and repeat rehearsed behaviour is the only true crime. It implies alignment with a culture that has been imposed on us.

Inaction is complacency, complacency is consent. We do not consent. The night is black and we are multitudinous. We sneak around with crowbars; opportunism is our strategy.

We pen our invitations with our crowbars. Our grammar can be found in the tiny cracks in the seams. If you are aware you will see them everywhere.

A door left open is an invitation for action. We are Studio for Propositional Cinema and we invite you!




SCENE 4. HARK!

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HARK! HARK!

HAVE WE COME TO YOU OR HAVE YOU COME TO US? NO MATTER. WE ARE HERE AND WE ARE ATTEMPTING TO PLACE LANGUAGE ONTO IMPERMEABLE SURFACES.

IF ACTING IS THE TRANSLATION OF LANGUAGE INTO GESTURE, THEN ACTION IS -- HARK!

WE ARE TRYING TO DETERMINE THE SHAPES OF CULTURE IN ORDER TO INSERT-- TO INFECT IT WITH HYPOTHETICAL GESTURES.

OUR LANGUAGE IS STRONG BECAUSE WE ARE WEAK.

WE SPEAK LOUDLY BECAUSE THE DIN IS LOUDER.

WE SPEAK THROUGH CIPHERS BECAUSE WE DO NOT EXIST.

FOR US TRUTH IS NOT AN IMPERATIVE. WE USE IT IN SERVICE OF OUR FICTIONS.

WE ARE THE MASK-TURNERS. THE CONSTRUCTION OF CONFUSION IS THE PRODUCTION OF MEANING.

THE NIGHT IS BLACK BUT WE ARE LISTENING TO HEAR WHERE YOU ARE. OUR LANGUAGE IS ECHO-LOCATIONAL -- WE ARE LIKE THE BATS OVERHEAD, SENDING SIGNALS THAT SOUND IN THE DARK.

WE CONSTRUCT OUR SENTENCES ON THE EMPTY AIR. THEY ARE FORMLESS UNTIL THEY REACH YOU. LIKE THEM, WE INHABIT MATERIAL REALITY ONLY LONG ENOUGH TO DISAPPEAR AGAIN OVER THE THRESHOLD.

BEHOLD!




SCENE 5. CUT!

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CUT!

AS YOU CELEBRATE, WE PLAN YOUR DEMISE. YOUR WORDS AND IMAGES ARE A SCOURGE WE MUST MAKE OBSOLETE.

STUDIO FOR PROPOSITIONAL CINEMA IS THE WETLAND UPON WHICH YOU ARE BUILT. EVERYTHING YOU BUILD MAKES YOUR SURFACE LESS VIABLE. WE WILL TAKE YOU UNDER WHEN YOU LEAST EXPECT US.

CUT!

ACTION!

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CUT!

YOUR ROLES AS DIRECTORS, AS PRODUCERS, ARE NO LONGER TENABLE. THERE ARE THOSE WHO SAY A DIRECTOR MUST BE A POLICEMAN, A MIDWIFE, A PSYCHOANALYST, A SYCOPHANT, AND A BASTARD. WE SAY A DIRECTOR MUST BE THE LAYER OF GRIME UPON WHICH THE SOOT AND THE SKIN-FLAKES OF CULTURE FALL.

FILM IS A BATTLEGROUND AND YOU ARE LOSING. YOUR FILMS CAN NO LONGER FUNCTION WITHIN OUR IMPOSED CONDITIONS.

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OUR CONDITIONS ARE AS SUCH:

1. FILMMAKERS ARE NOT POLITICIANS. THEY MUST NOT MANIPULATE THE THOUGHTS AND EMOTIONS OF THEIR AUDIENCE FOR THEIR PERSONAL GAIN.

2. FILMMAKERS ARE NOT MAGICIANS. THEY MUST NO LONGER HIDE THEIR ANEMIC IMAGES BEHIND TEMPORAL STRUCTURES AND THEIR WORDS BEHIND FALSITIES.

3. YOUR MONEY IS THE POISON THAT YOU HAVE MADE US CONSUME. A FILM SHOULD NOT COST MORE THAN IT IS WORTH.

4. THE ONLY ACCEPTABLE FORM OF FICTION IS THAT WHICH DE-MYSTIFIES FALSE STRUCTURES.

5. THE ONLY ACCEPTABLE FORM OF LIES ARE THOSE WHICH SERVICE SUCH FICTIONS.

6. FILM IS A PETRIFIED FOUNTAIN OF THOUGHT. IT MUST NO LONGER BE USED AS A VEHICLE FOR UNTHINKINGNESS.

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WE THEREFORE PROPOSE THE FOLLOWING TERMS:

1. NO INCONSEQUENTIAL IMAGES. EVERY PRESENTED IMAGE MUST BE DETERMINED AS CULTURALLY ADDITIVE OR MUST REMAIN UNMADE OR UNSEEN.

2. NO INCONSEQUENTIAL LANGUAGE. EVERY WORD MUST BE DETERMINED AS CULTURALLY ADDITIVE OR MUST REMAIN UNWRITTEN OR UNHEARD.

3. IT IS NO LONGER VIABLE TO EXPLOIT HUMAN LABOUR FOR THE PRODUCTION OF IDEOLOGY,.

4. IT IS NO LONGER VIABLE TO EXPLOIT HUMAN LABOUR AS MOUTHPIECES FOR IDEOLOGY.

5. IT IS NO LONGER VIABLE TO ENLIST THE AUDIENCE AS RECEIVERS OF IDEOLOGY.

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THE NEW CONDITIONS BEGIN WITH A REFUSAL TO USE IMAGES AND LANGUAGE TO REIFY DOMINANT IDEOLOGY TO OTHER HUMAN BEINGS.

THE ESSENCE OF ROMANCE IS UNCERTAINTY. WE ARE IN A RELATIONSHIP WITH FREEDOM.

TRUTH IS A MYTH PLACED UPON CULTURE TO OBFUSCATE UNFREEDOM. WE ARE NOT INTERESTED IN TRUTH, WE ARE INTERESTED IN FREEDOM FROM LIES.

NIGHT IS PURER THAN DAY. WE WANDER AROUND THE NIGHT AND ARE HACKED APART BY PICK AXES.

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WHEN YOU SAY "ACTION!", WE SAY "CUT!".

WHEN YOU SAY "CUT!", WE SAY "ACTION!".

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ACTION!




SCENE 6. ADDENDUM TO GENERAL CONDITIONS...

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GENERAL CONDITIONS FOR THE PRODUCTION AND EXHIBITION OF IMAGES

Addendum #1: Regarding Singular Images

Every photographic image is made under specific temporal, spatial, and social conditions. All unique properties of each condition negate all alternate possible images.

1. Every photographic image is an index to the time and conditions in which it was recorded.
2. When an image is printed It becomes an index to the time and conditions in which it was printed.
3. When a printed image is exhibited it becomes an index to the time and conditions in which it was exhibited.
4. When stewardship of an exhibited image is transferred it becomes an index to the time and conditions in which it was acquired.

Each image must be considered as a network of indices, with none of the aforementioned conditions being more or less privileged as pertains reception in relation to meaning and/or cultural value.

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Addendum #2: Regarding Multiple Images

Every photographic image is made under specific temporal, spatial, and social conditions. within these conditions it is possible to record either one or multiple images.

1. Every image exists within a temporal, spatial, and social context.
2. When multiple images are placed within these conditions, associative juxtapositions provide the possibility of the construction of meaning.
3. The producer of image networks can construct associative juxtapositions, but only a viewer can provide discursive value.
4. The discursive potential of the image is amplified within a multiplicity of images.

To exploit the greatest potential for the production of culturally relevant/valuable images, images must be produced and distributed within a multiplicity of images, and the producer must construct the temporal, spatial, and social conditions within which they may be presented as can best exploit their discursive potential.




SCENE 7. CURTAINS DOWN!

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CURTAINS DOWN!

WE EXIST IN A CONTEXT OF EXTRANEOUS ELEMENTS. BECAUSE OUR FORMS CAN PRODUCE EFFECTS ON OUR CULTURE, OUR FORMS ARE IN DANGER OF BEING DEACTIVATED, MADE OBSOLETE, EXTINGUISHED. BECAUSE OUR FORMS CONTAIN ACTIVATABLE CULTURAL POTENTIAL SUCH COUNTER-EFFECTS DO NOT PRECLUDE OUR DEMISE.

THOUGH IT IS CLEAR THAT:
1. OUR APPARATUS CAN BE DESTROYED SO THAT OUR IMAGES CANNOT BE PRODUCED,
AND:
2. THE LAWS OF OPTICS CAN BE MANIPULATED SO THAT IMAGES ARE NO LONGER IMAGINABLE,
AND:
3. OUR TONGUES CAN BE REMOVED SO THAT WE CANNOT SPEAK,
AND:
4. OUR LANGUAGE CAN BE ALTERED SO THAT OUR WORDS LOSE THEIR MEANING,
AND:
5. OUR BODIES CAN BE CRUSHED SO THAT WE CANNOT MOVE,
AND:
6. OUR BODIES MAY BE DISAPPEARED SO THAT THEIR POTENTIAL FOR MOVEMENT IS NEGATED,
AND THAT IT IS ULTIMATELY POSSIBLE TO REMOVE THE POTENTIAL FOR CULTURE WITHIN A SPECIES (i.e. HUMAN),
BECAUSE:
1. WE CAN FORM IMAGES WITHOUT LANGUAGE AND WITHOUT ACTION,
AND:
2. WE CAN FORMULATE LANGUAGE WITHOUT IMAGES AND WITHOUT ACTION,
AND:
3. WE CAN ACT WITHOUT IMAGES AND WITHOUT LANGUAGE,
AND BECAUSE:
1. WE CAN COMBINE IMAGE AND LANGUAGE WITHOUT ACTION,
AND:
2. WE CAN COMBINE IMAGE AND ACTION WITHOUT LANGUAGE,
AND:
3. WE CAN COMBINE LANGUAGE AND ACTION WITHOUT IMAGES,
AND BECAUSE (FOR NOW):
WE CAN COMBINE IMAGE, LANGUAGE, AND ACTION, AS NEEDED, AND, MOREOVER, SITUATE THEM IN RELATION TO ALL OTHER POTENTIAL CULTURAL FORMS, WE WILL:
1. PLACE OUR IMAGES, OUR LANGUAGE, AND OUR ACTIONS WITHIN CULTURE, AS BEST THEY MAY COUNTERACT AND/OR DESTROY THE FORCES THAT SEEK TO:
1. IMMOBILIZE OUR ACTIONS,
2. IMMOBILIZE OUR LANGUAGE,
AND:
3. IMMOBILIZE OUR IMAGES,
AND:
2. ACTIVATE EVERY POTENTIAL VARIATION IN ANTICIPATION.

AS SUCH:
1. WE ARE STUDIO FOR PROPOSITIONAL CINEMA,
2. WE ARE FOR A NEW THEATER,
AND AS SUCH:
1. WE WILL BE PLAYING HERE EVERY DAY UNTIL THE END OF THE WORLD,
2. WE SEEK TO SLIP THROUGH CULTURE LIKE OXYGEN OR RABIES,
AND:
3. WE ARE COMING TO A BASEMENT NEAR YOU, AND WE ARE COMING FOR YOU…

CURTAINS UP!




SCENE 8. IN A CULTURE

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IN A CULTURE WHERE CONFUSION IS A PRIMARY STRATEGY OF COERCION, IT IS NOT SURPRISING WHEN WE ARE TRICKED INTO ACTING AGAINST OUR OWN INTERESTS THROUGH THE INTENTIONAL OBFUSCATION OF THESE INTERESTS.

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IN A CULTURE OF DISTRACTION IT IS NOT SURPRISING WHEN FALSE FLASHY STATEMENTS CAUSE US TO BELIEVE WITHOUT CONSIDERATION.

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WE ARE ON THE BRINK OF THE ABYSS!

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CULTURE IS NOT AN INFINITE GAME. ONE OR TWO WRONG MOVES CAN BE CATASTROPHIC. WE MUST THEREFORE BE CAREFUL WHAT WE ACT FOR.

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AN UNACTIVATABLE CULTURE IS A DEACTIVATED CULTURE. CULTURE CANNOT FUNCTION WITHOUT SPACES FOR SPECULATIVE ACTION.

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DOMINANT IDEOLOGY DESIRES A CONTEXT FREE FROM SPECULATION. IT SUCCEEDS ULTIMATELY WHEN IT IS ALLOWED TO MOVE UNQUESTIONED. SPECULATIVE ACTIONS, FORMS, IMAGES, AND LANGUAGE ARE ANTITHETICAL TO ITS NEEDS.

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WHEN WE ACT TO REMOVE SPECULATIVE CONTEXTS WE ACT IN FAVOUR OF DOMINANT IDEOLOGY. DOMINANT IDEOLOGY IS DOMINANT BECAUSE YOU ARE NOT IN CONTROL. IF WE DISMANTLE SPECULATIVE CONTEXTS WE ARE COMPLICIT IN THE DESTRUCTION OF OUR FREEDOM. IT IS A MAGNIFICENT SWINDLE TO TURN A LIE INTO A REALITY.

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WE ARE STUDIO FOR PROPOSITIONAL CINEMA. WE ARE FOR FICTION AND WE ARE FOR REALISM. FICTIONS CONSTRUCTED TO END FICTIVE SPACE ARE THE REALITY WE ARE LIVING IN AND THE REALITY WE MUST FIGHT AGAINST.

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IT TAKES A WHOLE CULTURE TO DISMANTLE ITS CULTURE, BUT ONCE IT IS ERASED THERE IS ONLY THE STATE -- THE STATE OF UNFREEDOM, AND PERHAPS, WITH LUCK, SOME WEEDS GROWING IN THE CRACKS AND SOME MASKED FIGURES IN THE SHADOWS ATTEMPTING TO RE-LEARN THE DEAD LANGUAGE OF DISSONANCE THAT THEIR FOREBEARERS INVITED THEIR ENEMIES TO ERADICATE.

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THE TIME TO ACT IS NOW. ACTION!




SCENE 9. CULTURE IS AN ENDLESS CIGARETTE

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From inception to decay, life begins with cellular fusion, and is marked by increasingly larger movements which range from the caress of another’s skin to the crushing of another’s skull. They grow and vary and surprise, until the final reverberation of the last nerves and valves.

After death we embalm:
We witness an animated corpse which reminds us of what once was.

After embalmment we view:
We take one last look to try create a visual for future recollection.

After viewing we proceed:
We carry the corpse, in horizontal motion, through the streets, as the public watches its final movements.

After procession we bury:
The direction of movement shifts 90 degrees and brings it to its terminal stop — permanent immobility.

After burial there is decay:
Slow disintegration into formlessness until it eventually becomes one with and indecipherable from the mineral, vegetable, and cultural material from which it came.

On this ground we build and rebuild.

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Like all human lives always have and always will be, cinema is finally dead.

We have seen its embalmed corpse. We have seen it paraded through the streets. We have watched it change directions, and become immobile.

As it decays we must plan our new course of action.

We can choose to analyse and speculate on cause of death: autopsy as data gathering or preventative measure.

We can choose to rebuild in its image. A statue with the hope of reanimation. A cryogenic body waiting for a future that doesn’t want it.

Or we can build anew, learning from what was while proposing new possibilities.

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When we leave the dark palaces of dead gods, we look at the outside world to provide models, to the culture to suggest potential forms.

We are that world and we are that culture.

Culture is an endless cigarette. We scatter the ashes into the wind and the ebbing waves. Its granules will get into our eyes and irritate and blind. We will breathe them in and spores will grow in our lungs. When the puss and the phlegm is expunged onto the ground, where it can mix with the rising gasses of the rotting corpses below the ground, we will have the fertile soil on which we can build new forms.

These forms, too, can grow, and move, and surprise, until they are no longer useful and can be put into the ground from which they came.

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We all move in the same direction, toward or away from the light. It is in the variations between light and shadow that we live, we learn, we communicate, and, like cinema, like everything, we will finally die...




SCENE 10. COMMUNIQUE FROM THE DARK AGES

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Everything is awesome. Everything is cool when you're part of a team. Everything is awesome when we're living our dream.

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MAKE NO MISTAKE: WE ARE ON THE BRINK OF THE ABYSS...

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Everything is better when we stick together. Side by side, you and I gonna win forever. Let’s party forever. We’re the same, I'm like you, you're like me, we're all working in harmony.

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HISTORY IS NOT A LINE, IT IS A SPHERE. WE HAVE OBSERVED ITS EBBS AND FLOWS AND ARE WARNING YOU FROM THE OTHER SIDE...

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Everything is awesome. Everything is cool when you're part of a team. Everything is awesome when we're living our dream.

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WE ARE LIVING IN A CULTURE CONTEXT WHICH WISHES TO ERASE CONTEXTS FOR CULTURAL SPECULATION AND RESISTANCE...

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Have you heard the news? Everyone's talking. Life is good 'cause everything's awesome. Lost my job, it's a new opportunity. More free time for my awesome community.

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IN DARK AGES RESISTANCE IS FORCED INTO THE CRACKS...

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I feel more awesome than an awesome possum. Dip my body in chocolate frostin’. Three years later, wash off the frostin’. Smellin' like a blossom, everything is awesome. Stepped in mud, got new brown shoes. It’s awesome to win, and it's awesome to lose.

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IN CELLARS, IN ALLEYS, IN SEWERS, IN CODES, IN GESTURES, IN CLOSETS, IN DREAMS...

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Everything is better when we stick together. Side by side, you and I, gonna win forever, let's party forever. We’re the same, I'm like you, you're like me, we're all working in harmony.

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YOU CAN DISAPPEAR US BUT WE CANNOT BE ERASED...

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Everything you see, or think, or say is awesome. Everything is awesome. Everything is cool when you're part of a team. Everything is awesome when we're living our dream.

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LOOK FOR US IN THE SKY, WE WILL ALWAYS BE THERE...