LIBRETTO: Redundant as eyelids in absence of light.
Studio for Propositional Cinema


A transtemporal archeology:
where time acts not two-dimensionally,
like a unidirectional road, but
spherically, like an infinite haystack
with omnidirectional cross-hatchings;
within infinitely navigable
and calculable permutations of
presents/pasts/futures, observable as
objects (to study or make pliable,
alterable according to our needs),

objects consisting of information
made legible through the measurements of
lightwaves, sound-waves, gravitational waves,
and the images, sounds and movements that
we create, variously, at all times
(being time’s material); data-fields
(our individual cacophonies)
that can be de-ciphered (made tangible
as communicational attempts) and
presented (as dialogical forms).

And in the light this spectatorship:
as unactivated information,
dead while dormant, is resuscitated
by mouth, eye, and body of an other,
our translation (between forms, across time),
gleaned from recordings of unknowable
potential pasts and potential futures
made through blind circumnavigation
of time’s lines, focussed on swaths of darkness,
quietness, stillness; fields of inquiry:

translations untangle then re-ravel,
translators butcher then reanimate,
filling the dark space between languages
with tendons, permitting movement, as the
bones of history and the flesh of now
determines what’s to come: shards of tracings
(transcribed and translated from a brutal
potential future, ours if we want it),
excavated and analysed, may be
a line to follow or map for re-course.


“...Increasingly we have seen the human
predicament as the result of a
world filled with words, piled with images,
networks of signs and gestures and noises,
for an inter-subjective dialogue
designed to fail; all marks of difference
ensure estrangement from one another,
tribalising societies into
alienated individuals
and groups, with result of permanent war...”

“...Depictions erode the experience
of the fleetingness of reality,
surrogating the world, causing us
to live fragmentarily, as projections:
multiplying our (treacherous) world
permits permutations outside of our
controls, encouraging the populace
to imagine realities that are
unnatural or antithetical
to those that we desire and we require...”

“...The species error of speech, having thus
lunged us down the path of organising
ourselves into social super-bodies
by promising comprehension through the
transcension of our individual
subjectivities, facilitated
habitual coupling and banding based
on false perceptions of shared qualities,
which prolonged the realisation of
affinity’s impossibility...”

“...We must transcend the absurd folly of
believing it possible to create
consensus regarding the meaning of
the unconscious movements of our bodies,
those twitches and blinks and flicks and curls
that we think make our bodies readable;
as false codes are untruths, we must cease all
codifying and ritualising
of gesture and fully detach ourselves
from the tyranny of our selves as flesh...”

“...As translation’s impossibility
has proven the fallacy of language,
we must realise that the chasm is
not just between languages but between
humans themselves: unbreachably distanced,
the comprehension gap between us is
a weaponised negative space from which
all estrangement, untruth, and discord flows;
to avoid cyclical repetition
Babel must become a permanent State...”

“...We must envision a world in which we
are free from the binds that are tying us
together, free from obligatory
inter-subjectivity, free from the
constant reading of and writing with our
illegible and inarticulate
human forms, from the terror of being
together: we must de-articulate,
unlearn, and disassemble all forms of
communication to become ourselves...”


Textile Restriction

All manufacture, manipulation,
sale, trade, and/or transportation of
“Demarcating Garments”*, for: bodily,
symbolic, or gestural use, or to
demarcate, decorate, or denotate
one’s “self ”, one’s “other”, or one’s “property”
(these concepts being fictions constructed
with intent to separate and create
discord, and justify disharmony
between) shall hereby be prohibited.

All attempts to manufacture items
related to this form of production
(weavings, tyings, the formation of forms)
without explicit authorisation
shall be restricted under penalty
of forfeiture and amputation of
all corporeal tools (fingers, toes, teeth)
with subsequent errancies met by the
penalty of conclusive erasure;
for the greater benefit of the all.

* “Demarcating Garments” defined here as
woven or overlaid networks of fibres,
or synthesised replications thereof,
designed to create a product with an
integrity sufficient enough to
maintain a structure sufficient to hold
formal properties without influence
(and containing potential, whether through
colour, density, drape, shape, or pattern,
to communicate kinship or difference).

Image Enucleation Law

All manufacture, manipulation,
sale, trade, and/or distribution of
“Depictive Images”*, which purport to
reproduce, double, or reconstitute
the material world in the form of
surfaces, projections, reenactments,
or mirrors, static or fluctuating,
(reifying, by othering, selfhood,
by re-placing the self with its shadow)
and tools for their making, are hereby banned.

All attempts to manufacture items
related to this form of production
without explicit authorisation
is prohibited under penalty
of forfeiture and enucleation
(removing eyes and attendant muscles,
irreversibly negating seeing)
with subsequent errancies met by the
penalty of conclusive erasure;
for the greater benefit of the all.

* “Depictive Image” defined here as a
network of visible elements whose
organisation purports mimesis
of given quantities within the world,
constructed, within an understanding
of optical laws, by human bodies
or by replicating the natural
properties of bodily elements
(whose disembodying effect causes
uncanny reality estrangement).

Sound Elinguation Law

All formulation, amplification,
modulation and/or recording of
“Oral or Aural Articulations”*
intended to manipulate sonic
properties in a manner producing
audible sounds with the purpose of
frequency instrumentalisation
(projecting the self through external space)
shall not be allowed in any form, nor
is possession of tools to present them.

All attempts to manufacture items
related to this form of production
without explicit authorisation
is prohibited under penalty
of forfeiture and of elinguation
(surgical tongue removal, stitching lips,
the liberation of teeth from their flesh)
with subsequent errancies met by the
penalty of conclusive erasure;
for the greater benefit of the all.

* “Oral or Aural Articulations”
here defined as manipulations of
sound-waves, by bodily units (mouth parts,
limbs, clickings of joints), or by external
constructions (through tautness of strings or skins,
blockings or passages of breaths or winds,
modulating electrical currents),
to make audible intentional noise
facilitating (inter-)personal
expression or altering atmosphere.

Gesture Constraint

All “Extra-functional Movement”*, employed
as means to use one’s body as a tool,
enacted to be seen or to produce
something to be seen, and all attempts to
echo or demonstrate movements or to
attach them to meanings, or build meanings
with them, will be considered as wilful
actions against public interest, being
hereby banned (in public and private space).
The body is an end and not a means.

All gesticular activities found
being produced or facilitated
without explicit authorisation
are prohibited under discipline
and punishment of limb amputation
(arms and legs, the scaffold-spectacular,
some things must be seen to be prevented)
with subsequent errancies met by the
penalty of conclusive erasure;
for the greater benefit of the all.

* “Extra-functional movements” are all forms
of generating kinetic effects
of body or object not required for
standard functioning (permissible are:
breathing, digestion, and mobility
necessitated by public duty),
and include but are not limited to:
building, caressing, contorting, dancing
facial expressiveness, fornication,
hiding, mark-making, signalling, striking...

Transcription Injunction

Transmutating expressive behaviour
from ephemeral indication to
a potentially reproducible
indexical symbolic formation,
here called “Formalised Code Inscription”*, through
the production or use of systems that
facilitate the binding of concepts
to language (stifling the freedom of
thought by limiting its domain to a
fixed set of concepts) shall be hereby banned.

The production or utilisation
of notational tools or indices
outside explicit authorisation
shall result in the severance of all
physical characteristics judged as
facilitating these activities
(mouth parts, limbs or their extensions, eyes, blood)
with subsequent errancies met by the
penalty of conclusive erasure;
for the greater benefit of the all.

* “Formalised Code Inscriptions” are any
systems of transcribing occurrences
from phenomenological actions
to codified forms with intention to
depict those actions, making legible
traces from them so that they may exist
externally (in a different place and
time) from the referenced visual or
acoustic event (such as engraving
into or on an object’s surface).

Communication Prohibition

Projections of Selfhood (“Distributive
Gestures”*) are seen as aggressive actions
imposing subjective belief systems
(these projectiles lie in wait, wings folded,
for us to push ourselves into their traps,
or are propelled into or on us as
unrequested linguistic barrages)
making confusion inevitable,
and is illegal in all tactics and
forms, being counter-social offences.

Anyone found casting information
out into the world, facilitating
connections between individuals
or groupings of beings (and therein
the construction and self-replication
of the relation-centric misery-
making social formations of the past),
shall be literalised as their intent:
be drawn and quartered, then eighthed and sixteenthed,
and dispersed into the landscape as signs.

* “Distributive Gestures” being any
attempt to transmit any legible
meaning-containing informative
formations of Language (visualised,
gesticulated, sounded, constructed,
or otherwise made perceptible and
scatterable through unknowable worlds
of ever-renewed alienation)
across distances (vast or minute) to
be received by an other or others.


Confiscated Object Inventory
(Seized, Observed, Catalogued, and Defunctioned)

Series: Textile Manipulation Tools
Use Objective: Symbolic adornment
Conditions governing use: Ripped and burned
Accruals: Stuffed in holes or blown by winds

Item Name and Objective of its Use:
Flattened insulating material
Scope and Content of the Listed Item:
Rectangular surface, with notches, dyed
Item’s Physical Characteristics:
Disparate fibres condensed together
Additional Notes Describing Item:
Potential uses: sound concealment, warmth
generation (rubbing creates frisson)

Item Name and Objective of its Use:
Cutting tool for the fleece of a mammal
Scope and Content of the Listed Item:
Embossed: maker and site of origin
Item’s Physical Characteristics:
Two steel blades, attached at handle-bottom
Additional Notes Describing Item:
Blades bound together with a string of twine
(as tension determines proximities)

Item Name and Objective of its Use:
The act of tearing elements apart
Scope and Content of the Listed Item:
Repeatable by body or object
Item’s Physical Characteristics:
Halving caused by tool or bodily force
Additional Notes Describing Item:
Implied destructive desire indicates
dissidence against given quantities

Item Name and Objective of its Use:
Insect whose life-cycle produces strings
Scope and Content of the Listed Item:
Varies in shape and colour over time
Item’s Physical Characteristics:
Black eyes; hairs; wingspan width of four fingers
Additional Notes Describing Item:
Species boiled alive in the larval stage:
cocoons softened, scooped, pigmented, woven

Series: Image Making and Fixing Tools
Use Objective: Substitution of life
Conditions governing use: Melted down
Accruals: Tend to dwell in dark places

Item Name and Objective of its Use:
Non-vision-obstructing object (solid)
Scope and Content of the Listed Item:
Transparent face, translucent edge (can cut)
Item’s Physical Characteristics:
Variously reflects and refracts light
Additional Notes Describing Item:
Claims neutrality when flat, augments when
curved, inversing relations on all sides

Item Name and Objective of its Use:
Invisible waves; making visible
Scope and Content of the Listed Item:
The building block structuring all seeing
Item’s Physical Characteristics:
Calculable, sometimes controllable
Additional Notes Describing Item:
Pushes through matter like glands into blood,
or is sucked in like sponges drink water

Item Name and Objective of its Use:
Surface forcing past to stay in present
Scope and Content of the Listed Item:
Immobilised history reflection
Item’s Physical Characteristics:
Technologically-produced grain index
Additional Notes Describing Item:
Assumed use: attempting to alter the
future by manipulating present

Item Name and Objective of its Use:
Chroma-shifting pulverised minerals
Scope and Content of the Listed Item:
Powder-filled oils, altered when combined
Item’s Physical Characteristics:
Malleable when wet, fixed when contacts air
Additional Notes Describing Item:
Can be manipulated into shapes,
proximate as intentional patterns

Series: Acoustic (Re-)Production Tools
Use Objective: Audible soundwave manipulation
Conditions governing use: Dissembled
Accruals: Detectable with tuned ears

Item Name and Objective of its Use:
Sound-to-signal transduction component
Scope and Content of the Listed Item:
Records audible events for play-back
Item’s Physical Characteristics:
Wires strategically combined and encased
Additional Notes Describing Item:
Inert without the presence of other
devices and electrical currents

Item Name and Objective of its Use:
The movement of lips, variating sounds
Scope and Content of the Listed Item:
Produces noise in wide deci-bel range
Item’s Physical Characteristics:
Elastic mouth elements made to move
Additional Notes Describing Item:
Mouths produce sounds inferring meanings as
opaque as soundwaves are invisible

Item Name and Objective of its Use:
Tin cylinders with voids for wind for sound
Scope and Content of the Listed Item:
Grouped into rows in various sizes
Item’s Physical Characteristics:
Uniform along shaft, tapers at top
Additional Notes Describing Item:
Size effects tone: the larger the deeper,
increasingly high with decline in scale

Item Name and Objective of its Use:
The push-pull of air in a direction
Scope and Content of the Listed Item:
Intensities and frequencies vary
Item’s Physical Characteristics:
Invisible force with concrete effects
Additional Notes Describing Item:
Erodes walls, pushes sails, enlarges waves,
fills and exits lungs with impunity

Series: Movement Codification Tools
Use Objective: Emancipatory
Conditions governing use: Paralysed
Accruals: Watch leeches’ premonitions

Item Name and Objective of its Use:
Forming symbolic patterns on surface
Scope and Content of the Listed Item:
Legible across time (if codes are learned)
Item’s Physical Characteristics:
Carved into or set upon a surface
Additional Notes Describing Item:
Infinitely rearrangeable sets
of signs; endless meaning variations

Item Name and Objective of its Use:
Physical breach of invisible lines
Scope and Content of the Listed Item:
Small as a dwelling, great as a land-mass
Item’s Physical Characteristics:
Separation points (imposed or agreed)
Additional Notes Describing Item:
Intentional transgressions indicate
disregard for reality’s order

Item Name and Objective of its Use:
Graphic modelling of physical space
Scope and Content of the Listed Item:
Polar and stellar forces orient
Item’s Physical Characteristics:
Views, often aerial, guiding movements
Additional Notes Describing Item:
To map a system is to search for its
weak points (conspiracy against order)

Item Name and Objective of its Use:
Choreographed movement of a body
Scope and Content of the Listed Item:
Intangible maps, invisible paths
Item’s Physical Characteristics:
Repeatable specific limb movements
Additional Notes Describing Item:
Exploiting movement’s relation to time
to manipulate actions, guiding them

Series: Communicational Recording Tools
Use Objective: Speaking across space-time
Conditions governing use: Meanings drained
Accruals: New systems inventable

Item Name and Objective of its Use:
Surface for transferring motifs with ink
Scope and Content of the Listed Item:
Infinite reproductions possible
Item’s Physical Characteristics:
Chemically coated aluminium sheet
Additional Notes Describing Item:
Functions like an amplified fingerprint,
dispersing indices through the world

Item Name and Objective of its Use:
Wood-encased graphite-clay marking-compound
Scope and Content of the Listed Item:
Pressure leaves traces (rubber redacts them)
Item’s Physical Characteristics:
Built for manipulation by fingers
Additional Notes Describing Item:
Can be sculpted into a contracted version
of itself, re-usable until gone

Item Name and Objective of its Use:
Thin white information-holding surface
Scope and Content of the Listed Item:
Markable, tearable, stackable, light
Item’s Physical Characteristics:
Grated tree-trunks: wet, compressed, bleached, dried, cut
Additional Notes Describing Item:
Examples: loose or bound, faces hold
words and images and sequences of

Item Name and Objective of its Use:
Shapes representing given elements
Scope and Content of the Listed Item:
Repeatable (until meanings erased)
Item’s Physical Characteristics:
Archaic abstracted pictogram forms
Additional Notes Describing Item:
Latent codes, ready for meaning-making,
as characters in search of an author

Series: Language Dissemination Tools
Use Objective: Reaching for connections
Conditions governing use: Made silent
Accruals: Infect to inoculate

Item Name and Objective of its Use:
Printed sheet arranged for public reading
Scope and Content of the Listed Item:
To inform, or convey a position
Item’s Physical Characteristics:
Blank back, front reaches out to a reader
Additional Notes Describing Item:
Attempts to persuade, determine actions,
to manipulate the vulnerable

Item Name and Objective of its Use:
Assembly intended to present sound
Scope and Content of the Listed Item:
Receivers and content variable
Item’s Physical Characteristics:
Performance for audience consumption
Additional Notes Describing Item:
Projections of oscillations and of
messages for reception by a group

Item Name and Objective of its Use:
Things, set in a place for contemplation
Scope and Content of the Listed Item:
Juxtapositions propose dialogues
Item’s Physical Characteristics:
Setting something on a stage stages it
Additional Notes Describing Item:
Ostensibly neutral, complex social
relations inflect reception within

Item Name and Objective of its Use:
Marked surfaces bound into sequences
Scope and Content of the Listed Item:
Elements within bodies of knowledge
Item’s Physical Characteristics:
Glued, sewn; retaining logical order
Additional Notes Describing Item:
From writer to reader, between readers
(a movable erotics of language)


My fingers. Scraped by juts. Cuts into scars.
Dusts and muds creeping into tired veins.
And my toes. Swelling and cracking. Pussing.
There are no ointments. Salves cannot be made.
Rags have not been seen for generations
(Long ago poached, and stowed away or burnt).
Fragile threads left over are sparsely found.
The grains of their fibres erode to air.
As the winds whip the flame, rattling glass,
Dispersing them further (hidden away).

Congealing fragments, compressed into strings,
Twining with each other, formed into ropes,
Braided into networks, structuralised,
Through intricate additive processes,
Infinitesimally woven swatches,
Which may, through combinatory tactics,
Be adjusted in breadth, altered to suit,
Pulled into shapes, crammed into crevices,
Used to conceal, for a moment or two,
Illegalised actions, objects, or flesh.

Since we are no longer in the age where
Wealth accumulates itself as symbol
And we are now living in the age of
Wealth articulated as metaphor,
All forms of the symbolic have been culled
(To objectify the metaphoric)
And all forms of the expressive suppressed
(Mitigating variations in forms)
(As variations make legible
Structures functioning through opacity).

And that being so: gleaning from these shards;
And that being so: weaving from these lints;
And that being so: fearing detection;
And that being so: risking erasure;
And that being so: (though this day will come)
Stalking the soil and the stagnant water,
With hairs draped like flames, eyes piercing the dark,
Acclimatised to the microscopic
(Though lenses, too, may never be produced)
I search for the variants on these grounds.


“Its coloured grains form dunes obeying the
Winds that blow into the scene from outside.”
(Inasmuch as a lens is a shapened
Facilitator formed for optical
Laws to converge within the various
Given material and temporal
And kinetic and spatial conditions,
And fluctuating luminosities,
Built to exhaust the permutations of
Ocular physics (in and against time.))

“Fates decided not through choice but with the
Oscillating tendencies of those winds.”
(Inasmuch as an image is a form
Built with light which can concretise a view
Made visible by and within these laws
And structured within the logics of the
Given material and temporal
And kinetic and spatial conventions
Within which organisms must function
(Within which we decompose in time.))

“Plucked from the multitude, a grain of sand
Thrown in an eye can cause its removal.”
(Inasmuch as an image, formed as such
And physicalised, is like a body:
Traceable (“I can feel you here with me”);
Desirable (“I want your skin with mine”);
Governable (“A touch not permitted”);
Mutable (“Gouging eyes, severing tongues”);
Disappearable (“Body no longer”);
Untraceable (“Memories are formless”.))

“Sucked from the multitude, a grain of sand
Ingested by mollusk grows to a stone.”
(Inasmuch as a representation
Is as improbable and tenuous
As the world and the lives it represents
While being for them prisms for meaning:
Formed without images I form them (for
A past that is unable to see them,
A future that does not yet want them, and
A present that does not know what they are.))


Absence accumulates actions against.
Before: beings (blackened, bleached), bodies (boiled,
bombed, braided, bubbling), buildings (burnt, butchered).
Cameras coaxing colours, concealing.
Culled (decapitation decided).
Deciphering decomposed dialects.
Dispersing distrusts, dropping drowning dusts.
Eyes facilitating feeling fiction.
Fingers flayed, flesh fluctuating (formless).
Glass gleaning granular grammars (growing).

Hands have heat here. Horizontal humans
ignored, illegalised, imageless.
In inaudible infinitesimal
instincts (intricate, invisible) it
knows language laws, layering light like lines.
Loyalties make meaning metaphoric.
Microscopic mistakes, momentary
movements, mutable myth narratives: no
noises obey optical orderings.
(All playgrounds are systems and vice versa...)

People permitted processes, produced
projections recalibrating reflex,
removed representation ruthlessly,
scattering seeing, silencing singing.
Solitude structures subjectivity.
Suppressed symbols, synchronised tendencies,
tendernesses, tendons, tenuousness.
These things, threaded through time, tiring tongues;
torn tracings, twisting undetectably,
unravel untraceable variants.

Your words without voice, visibilities
undetected, touching tongues tightening.
Silent scenes representing removals.
Poached organs, operated on meanings.
Mouths momentarily loosen, language
kills itself, images hollow, grammars
fragment, forms fluctuate, flesh falls, eyes exit,
dialectical desires decompose,
cameras burn, bodies asphyxiate,
appear again. Acclimatised absence.


Inventory of reflexive movements:
The tracing of sweat over follicles;
The chipping off of an eroded tooth;
The quiver of lips when refraining speech;
The charring of skin as it’s melting off;
The way tendons twist when loving something;
The way knuckles gnarl when maiming someone;
Gagging and the attempts to suppress it;
The wind from an eyelid flicking out dust;
The rub of grasses in cracks between toes;

Acts produced with intention to be seen
(Over and/or in absence of a Sun):
... rips the curtains ... sings ... exits ... rises ... bends ...
softly inspects ... congeals ... sings ... rides ... turns ... stops ...
slithers up ... listens ... sings ... clenches ... hides ... looks ...
motionsickens ... shoots ... screams ... sleeps ... appears ... lifts ...
drags by hair ... enters ... sprees ... confesses ... lines ...
crawls on knees ... laughs ... manoeuvers ... mirrors ... runs ...
drops ... steps ... tramples ... sings ... gathers ... agitates ...
sings ... crashes ... runs ... climbs ... closes the curtains ...

Places where situations unravel:
Anxieties. Archives. Assassinations.
Assembly Lines. Consultancy firms. Decapitations.
Drownings. Economics. Exhibitions.
Factory Wages. Gravitational re-calibrations.
Killing sprees. Loss of body. National anthems.
Nervous ticks. People. Shipwrecks. Recessions.
Solitude. Songs. Subprime mortgages.
Eyes when adoring and how their skin loosens.
Things. Track-lines. Video simulations.

Observing your assembly of movements,
torn from an infinite inventory
of potential movements (bendings, shivers,
sweeps, flicks, sighs); each quiver reminding that
all objects reverberate constantly,
all bodies flow in equilibrium,
and that if time can stretch like rubber-bands
perhaps we can tighten it with tension
enough for our movements to be tandemned
(momentarily, if possible, so).


Inventory of fragments (overheard):
-- calculation -- decision making -- sound --
-- reorderer: -- you reordered my words --
-- my body’s order -- you reordered me --
-- trees -- dreams -- stars -- coffee grounds -- the flight of birds
and their own livers -- swooning – wonderment --
-- but what is a word? -- is it a cipher? --
-- or is it a symbol built with ciphers? --
-- your eyes returned from a despotic land
where no one knows the meaning of a glance --

Collected (for future decipherment)
-- redbreast -- weeping -- autumn light -- tenderness --
-- and what does it mean? -- and what is meaning? --
-- being a symbol is it bodily? --
-- (a body connotes; your body connotes) --
-- a myth, like all myths, constructed upon
a fiction meant to represent a truth --
-- a narrative to suggest a future --
-- your; eyes, voice, hands, lips -- our: silences, words --
-- light: in absence, as or if it returns --

Constructing symbols (to connect sounds):
-- what is a body? -- matter or symbol? --
-- colours -- forecastings -- logics -- taste -- distrust --
-- what is a symbol? -- to whom do we speak? --
-- for whom do we speak? -- for whom are we us? --
-- as beings with subjective potential --
-- impulses -- compulsion -- our pulse -- contempt --
-- distribution of electricity --
-- forces to be examined or ignored --
-- your eyes -- crashing jets -- stained glass -- rent -- prisons --

Cobbling grammars (threading symbols in rows):
-- suppression of crime -- war operations --
-- and what am i? -- symbol of myself? --
-- a surface for a projection of you? --
-- a conduit to decipher myself? --
-- are futures horizons of the present? --
-- are impulses constructions of language? --
-- is this why we don’t know what language is? --
-- those not asphyxiated by absence
of light circled crazily, like ants -- still --


In pitches inaudible to humans:
A body: flayed; governing; of water;
(The first thing to do is slice off the beaks:
Free of a mouth they cannot make noise)
Scattering, dropping, dispersing fragments
(at 41°43’52.02”N 12°17’12.5”E):
Skin bubbling, boiled before butchering;
Split from the palate down to the sternum;
Poison corroding the stomach lining;
(You, protagonist: enjoy this pain, too)...

In dialects imperceptible to humans:
A body: of water; flayed; governing;
(The next thing to do is to tar the wings:
Invisible against the blackened sky)
Scattering, dropping, dispersing fragments:
(At the place next to where we last left them):
The flicker of the sponsors’ commercials,
Intervals of colour fall on your neck
(Refrigerators, toothpastes, smiling cheeks)
Synchronised with the spasms in your gut...

With veiling meshes rendered in marble:
A body: governing; of water; flayed;
(One must always poach and stomp the lain eggs:
Nesting instincts compromise loyalties)
Scattering, dropping, dispersing fragments:
(at the points where language layers like fogs):
Endlessly circling rose-coloured ruins;
(As rain bleaches, as sun burns [over time]);
As heat coaxes coals from grey-black to white;
As support shifts from buildings to scaffolds...

With subjectivities rendered as walls:
A body: defined by fragilities;
(Twist off the neck if a mistake is made:
No room for error; pragmatic, ruthless)
Scattering, dropping, dispersing fragments:
(With meanings carved out, like shavings of lead):
(Silent, against the light of the sunset);
Undetected detonations of bombs;
Cameras operated by shadows;
As meanings hollow again: with “An End”...


With these twists of image, sent across time:
How can they be used? What is to be done?
Once returned from a future-view of a
logical conclusion made visible,
should we re-trace the path with new knowledge,
or can we make alterations that may
circumnavigate the statistical
probabilities our trajectories
course, re-routing away from a self-made

annihilation by our own desires?

We have seen how the utilisation
of tribal desire leads us towards
an auto-instrumentalisation
of our bodies and their gestures, moulding
behaviours to instinctive reflexes
and re-encoding societal agreements
as codes without content (as contentless
codes are answers not questions, they can only
be edited by their encoders, whose
will desires the endgame of their coding.)

We have watched the construction of things by
individuals systematically
delegitimised and the construction
of things by universal consensus
reshape our desires — from a world built by
us to a world built for us, making all
building activities seem suspicious
or made illicit, causing forgetting
of the impulse and tools to construct
our world according to our own interests.

Having already delegitimised
images through an inoculating
proliferation, numbing frequency,
and by the de-articulation of
our image-tools’ functions, their social roles,
and variegative potentials (having
defused them by diffusion), can’t we
now, already, envision a world in
which we seek our own imagelessness as
a means to relieve our image-poverty?

As we have ceded control of the songs
that we make (having handed it over
to representatives who have repurposed
the social role of music from a form
of communication to a vessel
for the algorithmatisation of
our dreams; our identities constructed
through alienating affinity),
we’ve lost our means to sing, our means to hear,
our desire to hear the unexpected.

By stretching the timeline within which we
analyse how societies built the
structures that structure our movements between
each other from the scale of our skin to
the scale of border-lines, we can see, as
from satellites, the self-contracting of
our selves, our recoiling from our other,
a regressive paralysis into
collective alienation:
a dance deadening, even from our eyes.

We have already permitted our words
to be voided of stable meanings,
subjected to value-fluctuations
that cause them to mean less instead of more
(sanding away articulative means);
the logical end of the impulse of
ideologies is to will worlds to
what we want, not to want worlds that we need,
transforming our transformative tools to
tool-parts that gleam but don’t function.

Given: homogenisation through a
universal loss of control of the
design and manufacture of goods; our
inability to construct the tools
to construct images we desire;
our forgetting of our music; our
refutation of dialogical
possibilities, immersing ourselves
in fictions built to house us: what is left
to broadcast if there’s nothing left to say?

With our tools under threat of erasure,
and knowing that a structure will always
expel elements counter to its desires,
the preservation of their mechanics,
their logics, and their systems of logic
is the responsibility of a
scribe-like network of articulators
who may supplant an annihilative
cultural field with a fertilised one,
like mosses’ growth after an earth-scorching.

As, in absence of light, it is only
sounds that can guide us from desolation,
despondence is only waylaid by the
presence of the foghorns or sirens
that guide us from, not towards, disaster.
Drawn towards our own latent desires,
our survival will not be determined
by those singing the guiding-songs we hear,
but by our ability to re-tune
the timbre of their songs to fit our ears:
a siren-song guiding from the darkness.