A place has vacuums, and no names – when points or pins appear or puncture in a vacuum’s place, a line is drawn, and once a line connects onto the point(s) or pin(s) 2 ends are made, and that begins a legend, of how one became a two, and then, from chaos of the un-numbered came a stack of ordered lines, that let themselves be formed, as there was a model for their forming – then, a chaos like an influence, or wind, it stirred the lines and crossed them over one another, going into many directions at one time, – only to suggest, the greater form, the chaos of what stayed un- named, and thus was not formed for our perception – evasive of suggestion, evasive of forming, and evasive of statement, turns the eye and nodes of sense into the space of vacuums, there to wander in attention to the unsatisfying lacking, in which the greatest forms in quantity and un –named exist -.
From nothing comes intentionality. This is the first birth, an easy push as there is still to be born resisting and inertial force, and something moving, and something still – intention comes, a hiccup, or a fart, – a moment of a sudden but small breakdown – .
Again, reprise; … everything I have seen can be inverted – realization of the namable presents immediate direction to denial – this is a line of two paths – separated from the nest of chaos – its two things from one, from a cloud of number – so to not diminish we must allow a cloud of line – points flowers to determining strength, enforced by natural patterns – it is important not to populate or clutter with what is recognizable – ; association with other conventions are already seeded in every atomic element of the familiar – artistic creating must be pure, unrecognizable – to be strong – to be – generative – , to be of use in the development of the artist in the progression of steps, involving the artist, that lead to the realization of the art – long flat to a far horizon, probably on a surface bigger than earth, maybe differently shaped–, with bulbous lights fixed into the atmosphere – it is free from the conventions of landscape – the existent state of a personal art should stay stable despite conditional changes of its host – thus, the formal aspect-; to stay afloat and stable , steady input or energy is required from source to art – even as it draws more or less, it should not reflect conditions of host or body – as art of this aspect is steady state of development and evolution -, with stable, and continuous – requirements – thus also it is a strong discipline for body and host – to keep this – separate from flux – and corruption and influence and dirt – … if becomes involved, valve (verb) out of main stream, and pocket, contain- so are auxiliary too, a second body – an unnecessary but existing work –
From an incomplete thought or a half developed idea, when stated or revealed, can come the unblocked or open ways allowed by imperfect or error –and thus offer from extension a different first thought or idea = correctly in line with the product or imperfection or error –
Pictures from a dream are tacked the way a wet leaf sticks on to your shoe – a thing you are aware is there, but not sure how it got, and not aware of what the thing looks like in whole, and where its from –
A preparation made prepares for one, the model one in mind, leaving flat a multitude unmatched but a firm foundation for the one ideal to stand up on alone –
For weakness to be strong, it must infiltrate a solid and a sturdy frame, and only then can weakness practice the traditions of its art – revealing to an audience of victims how it holds its iron sway, and what a force submerged beneath a static form can do over a longer frame, that extending past the smaller or the shorter local frames, may grip a longer set created so to influence the movements of the resolutions of the mind that form the compliment of currents in the spirit of the matter’s world … –
Write out in as many lines and in as many directions on alternate lines the strings of punctuations – and flats, and curves – to map, to offer, to avail a possibility of a user, and this thing, this map, this score, the guide to composition of a hole filled matter, and the score, the pathways winding through the matter so to fill incorporate and make a matter be a spirit and a whole, with substance of the intellect and has a destiny this presence can imbue —– quiet, and the sounds of settling structures and a littler of the smaller things that vibrate to the housing in the night, and give to it a thread that holds the circumstances of involving scenarios from fall of light to morning rise …- always possible, these are action lines instructions in a play – squares, straight lines, mover moves past or through cut it briefly and they bend the lines of squares- and change themselves alone, and nothing they attend or touch is altered – many things show themselves to have a second force while some expose themselves as having only one, affecting nothing they attend to or abut and so will show another kind, a plastic sheet of derivation with no source or first, but last and after only and alone..
Forward moving objects – these can be of nothing and may work as holes along a path through air – are they a clock, so like a pattern of an abstract thing, that punctuate the most invisible of things, the medium in which the most of daily objects that we see will rest? Or, is movement all the thing, and what we see as markers in a space, that as a table leg or stone takes up a location all its own, and is a calendar of all its span of life?
Marks are art and frustration and poetry and plans for hypothetical utopias acted in real really actions, and a few substantial risks of loss and failure –
The entity that is an individual has sensations of becoming and of change, but to a thinner, a vapor, or misty thing or object, perhaps, holding like inside a net its shape to see but like a sponge that manages the outer SHAPELESS forms as water or of gas to pass into through it and in and out its walls, that makes it heavier or forces out a thicker thing for gas and makes it lighter and a thing that drifts and moves across a room the way a thing that’s died may be imagined to be able to adrift or uproot itself without it legs or feet to move afloat, by act of mind or will, or of the individual identity that also has a loss or addition and inclined to loss itself for something else, and thus the symbol of the thing it was, its outer form the we can see may drift, like this, without its feet, or legs, or hands – … again, this is a set of acts that we can write into a play and stage it in a room without the clutter of a living room or den – …
And in this one is put, with arms and legs, torso, head up on top of a neck, a back, – many hinges, creases, parts as with a hair part but more the body-part, and these thrust in the environment may be pointed, addressed by a model of an action anatomy, where you may hold, in your armpit, one stone, or two, or three – and then, release them, the one, two or three, each possible number having its own signature of the letting go, which highlights the presence of the crease – and the hinge, and having an action anatomy and using its illustration as a compositional expression – so, each hand has many creases/hinges, two at each finger joints, the crease in the palm, the thumb and thumb fat crease – all may hold a stone along it, or several or many if the crease is long, or, the hinge is big or deep, as with the armpit, -elbow, leg creases, beneath the chin, etc. -. Score score score to define a generation and aspect of the bodily insertion into environment and make of that an interactive plan, what to do and where within what – circumstance, – etc.-.
To individuate is to abandon oneself in every way but awareness and the impulse to change or move. For the artist, the alternative is to place oneself into the shape of the socialized artist, as one would pour water into a container or bowl, and take on this shape for oneself. The socialized artist wishes for recognition, and finds it through the shapes established for him or her through hi/hers social group – and, through it, to offer back the forms expected, and to repeat from a list of acceptable messages. This kind of identity puts no value on individualism or the voice that belongs to art, which is as the shape of water, always adjusting its form, determined externally by its outlet, and determined in its behavior by its own internal chemistry. Art that can be categorized and addressed in a larger context is already adapted to another purpose, political, entertainment values, or business purposes. This transition drains away the creative independence of any art, and is thus the means by which art is made acceptable to the larger group, who, demanding a perspective view that is shared experience, is contrary to the singular responsive mechanism which is the kernel and the core of an artist access directly to the creative impulse. If an art can be understood, that it is of no creative value, and the impulse has not been shared – only the artisanship of a maker, as one who cobbles shoes or makes candles. The illness of art is that it in fact needs to be shared, or, made and put away from the artist, and best in clear view of others. The health of art is that this sharing be an impotent gesture, that it falls on the ears and eyes of the deaf and blind, and that it elicits no understanding or response. The social identity of art is this other thing, that it is a role that is satisfied which is consistent with the mundane and everyday experience. The true identity of art is that it represents the abandoned state of the art maker, who has devolved from his social role and has inverted into his own complete and separated state of sensory response, and inward turning, in a kind of dying away from the ordered world. In terms of true art made visible, performance art represents a conduit or channel more attentive to arts creative identity; this is due in part to the openness of performance, and the fact of its relative newness in the field as a discipline. But, as performance art begins to be taught now in schools and art universities as a discipline, the openness evaporates, and we are left with another shaped container into which the socialized artist may pour his work, and find acceptance. The creative impulse thus has drained away rapidly from performance art, and newness or individuation in art must find another set of conduits to satisfy the innate desire (of art) to be seen – in its wish to be healthy and, a living thing. It is my belief that an art which can be contextualized at all is not art, but something working as a placeholder for other human schemes, and a mindful distraction as part of the realm of the mundane. In this way, art really has no role and serves no purpose, only the creative impulse which is akin to chemical reactions and biological drives. These impulses and drives are of course connected to the mini-death, enlightenments that are personal on the part of creators, and like the end of an individual, is singular and is impossible to share as experience. We may have a knowledge of art and something about art history as it has served a socialized role (as false art) but as a group, art cannot be understood or used. Art is an individual, an identity unto itself, like water that reforms its shape as it moves, and which no one other than water can really hold.
Water may be characterized as shaped, if one tries to imagine how shape can occur to it, based on its weight and volume and aspect apart from how it may retain itself considering its condition, merge and be forced by gravity, conditionally cornered – – – to avoid the reason hole that would to describe how this is possible but impossibly, phrases and aversions of language are better applied, – as instruction, and to give the question of water’s shape meaning as it might occur – , as it falls it is water, as it forms from air, as it is captured in movement between places and between capture where it DOES conform to outer shape conditions that are not its own – the shape of water is partly filled by experience of it as a unique viscosity and sharing general qualities of other liquids, – the experience of transparency and viscosity, and tactile effect – together – while it is between, while it comes and goes, and while it is found and used, and while we can eliminate its outer surfaces and all but an inner core that we may say is a cross section of a larger thing, so, there is no shape – it is – from an inner center, where a shape is not to be expected, and where a shape has no place – important, eliminate the shell of water, and we have a portion of all water, and all water may have an all water shape, but it is not one we can know as water is subject to change and process where it is generated or where it is moved to another state – so we defer the shape question to a bigger set of possibilities that may be addressed at some later time when many things beyond our scale may be seen in overview, when it is done, when the changing conditions and such are finished, as like a language that has no more speakers so will no longer evolve or grow and change – and then, it can be examined – but, only then, may we make statements and evaluations that will not be trying to pin something on a moving target – water may be evaluated when it no longer flows, when it is history.
So art, and conventions of composition when traditions are violated and resisted and something new occurs that may not be composing, but something that is alive and only the tag of ART as an undefined FUNCTION can have any meaning, for purposes of categorization – so, it can be put into a context, of those dead things that can be defined.
It is good to move forward not reacting to the alternating conditions that accost, as reaction is premature without a slow feel and adaptation to a state of familiar and witnessing becoming invisible the way seeing a usual thing becomes a neutral act of seeing –
Moving very slowly as if to not frighten a bird, or to disturb the rest of a dangerous mammal, this way is best as gradual buildup to measured response though one without evaluation or judgment – though one that has the expression of an impression made in the soft stuff on non-judgment thou… imagine a moving forward by shifting one side ( of a THING) in front, and then the other, opposite side, ahead of the other, – instead of a lifting of the whole, it is a kind of walking of the THING, join this with a single point of quiet and nonlearned or conditioned action amid a complete surrounding of force of judgment and pressure on the single node (the individual amid a mass of uniform ones) which resists with inner inflexibility (which is the simple wall against a decisive influence) and you have a form that progresses forward, and after long after expected period to give in to this enormous force passes, then a free explosion of expression is possible, while responsive in a sense to the weight of judgment which has been pressing against the individual with all of its weight for so long, yet resisting any unity with this influence, even if the content may be exactly the same, of what this influence would demand in conformity – yet it will be an individual expression, even as it may contain an in mass substance – it is cut, and floats as free as a boat – not participating – an example, an illustration which has been cut from the aspect of influence as purpose – so think a composition or composed environment of continuous conventional force (uniform, steady) while a singular form resists the force of influence, and when, the steady force resides, there is a flowering or emerging of the individual as it has sustained in its own way, its own steady state of self and resistance – to a form that is like a block – while the individual emergence is as a pin or string – it is ineffectual as mass influence but, a final or absolute, unquestionable, unarguable judgment -.
Infiltrate, think the pin – a puncture in a uniform mass- the opening around the pin flowers into extensions and branching of the opening – and, then, triggers – a bucket held up by string, you fill the bucket until – the string snaps, causing a chaotic event of spilling contents – the flinging of something, the release after a built tension – so is the trigger, after sustained tension until the threshold is broken – and, the infiltrate, and the chaotic flower and redirection it brings – these may follow each other as movements or sections of a suite –
-the linking of varied breath, varied force, varied canal of air, varied resulting condition given assumption of a length or stream that is closely aligned with an overall life expectancy – so is a performed structure of breath, mixed in forms of voluntary, mechanically corralled, auxiliary and autonomic -. This is an easy blend with both trigger and release while pressure force composition, and pin puncture flowering – as breath is reflective of any other simultaneous activity, and responsive too, and a predetermined commentary, if this is a design -. Such is enveloped safely by a morning to night exterior use of life energy and preoccupation – .
Weights and size over surface
Contact relationships of objects after and before
Thickness plus imperfection
Weakness positions and locations
Swell and dehydration
Application of content concept to measurement
Like a string we fall into a concentration,
The concentration here crosses across aspects – ; is a long duration for a thing perceived or a presentation at greater length a more significant thing, and is it even, more of a concentration, as length allows a deeper, more complete submergence from an outer state that would keep the object of the presentation always, in part, divided – ;; or, is a concentration a shorter, more precise event, as would be a hard bullet, delivered quickly and with accuracy as it is pointed at one spot where it will harvest greatest desired effect -…? And then, this concentration, it seems yet I only suggest it pertaining to delivery and overall power to provoke change, by them, purity of force and economy of focus, and, a longer, more external replacement, environmental – change and duration, submergence – but, there is more – these is also, in both of these then, a concentration of the contained substance of this art that is a channel – or pipe, though which some content or original atmosphere flows, from first moment applied to departing atoms of content or contained art matter – the conduit, – and, the moving atmosphere it is venue for – ARTMATTER – hmm .. – evokes circumstance of concentration, and mechanism – it too is a distillation – of ways and whens the circumstance may occur naturally and only momentarily and allowing naturally only a small portion of the ARTMATTER substance and content concentration to be delivered – here, in the conduit, we have a THAT and THAT ONLY , and so, concentration is in the time and density of the ARTMATTER as it flows, in both time delivery and event concentrations within atmospheres or suspensions of their own, and, the conduit which is a concentration of the circumstance of occurrence.
A conduit may hold along its length taps that are invisible to the perception of the sharers but, which drain a small line at various points for a condensed and remote isolation along tangential lines – away from the conduit body – these taps – and, these lines which may redirect in many ways and locations and relations to each other – also present a conceptual form – and may be twisted, crossed, or aligned to reconstruct and evaluate almost immediately what happens at any moment or block of space within the conduit, and also, allow sampling of concentration (meaning here density in atmospheres) of events in air – which is, from these lines, another value, what may be opposed, contrasted, converge and presented as series, taper, or, imitation in the abstract, to construct as tangential conduits, natural preexisting or unnatural preexisting forms – …so, first, these lines become a separate and other aspect, but in concept and function, when they deliver from the conduit and it is perceived, it regains or transforms again to in part original purpose – they become in their purpose, after their first purpose of separation is satisfied – mirrors of the original conduit, reflections of content, and, are in special parity with the density, of concentration from the first, whatever that concentration may be – these tangential conduits of atmosphere will always reflect – and, be traceable to – to the source absence of a knowledge of the conduit -.
Of course these extensions may cross many times too, and form a thickness dimension and there, as a complex, form either a mass that is a body in a hypothetical vacuum that is a universal performance space, or, may expand always and account for the universe of performance space, as one that is always becoming more dense, until the concentration pushes it outward and it thins, or becomes, less – thick – ..in that – thickness – dimension -.Object creation, object concentration, or/and – diffusion, dissipation, expansion coming from concentration, and the object(s) decline as it/they lose their object borders to the thinning effect – and – diffusion into the performance atmosphere(s) as they are spreading, wider – .
Points may emerge, or the potential columns may collapse downward and become holes – points that are presumptions of common experience or knowledge/belief base, and as the hole, the absence internally, suggested by the common presence externally – the conditions of this kind points additionally to a second set that are like the first, but offset – and, intersect the way two combs facing each other may come together and bind – teeth against teeth – the second set is the offset of misunderstood (misunderstanding) or focus on those points which, if presumptions are correct, should be undetected as common collateral and functioning as a stable undercurrent for a piece of art in question – or at hand – but, the second set, defined as the ignorance of this underlying stream of assumptions of common experience – propaganda if you will – and, given as a series or number of aspects affected by ignorance of various of points – this set becomes obvious as a disconnect, as a kind of additional presentation or plot of actions or events that can be linked sequentially and serially as they are akin, but also, progressive one to the next –
If we think in shapes, of twisting ribbons and contoured containers that fathom aspects by projection of dimensions at any point(s) into the common pool, and these infusions into this background insert and withdraw from the knowledge/experience base -, we allow ourselves a thicker layer of compositional materials as well as tools, as each shape we allow, and each dimension we account for in a work also expands what that work may be, and, the next work it leads to as a continuation into arts parade of examples of theoretical speculations —.
But – if points are as columns, space is occupied by them – if inverted for lack but reserved (forced open) by assumption, there is unoccupied space – into which a like thing, opinion, bias, purposefulness independent or individual propaganda which may be inserted into the prescriptive role of common knowledge experience, while in that only singular and completely individual to the creator or artist – seeking to impress – or/and control – with the will of one-. So, this may be used or played upon in this way, or, these holes – may be left unattended, and, as influence may fall from chaotic, indeterminate or improvised aspects into or out of a work, so these holes may take on the quality of a prescribed aspect from a chaotic, unformed or improvised stream that might exist as part of a work of art. These qualities may change with each rendering of such work, especially if performance or time based in nature, and so, these influential aspects are as a living and evolving quality, and make the prescriptive element contradictory, which may negate in some cases, dismissed in others, and in others, more complex and interesting, as there is yet another PROGRESSION within a progressive series, a progression of content that crosses from one performance to the next, within the unpredictable stream occupying the series of holes. It is possible too, to consider how these holes may be pushed farther from each other, or pulled in closer, and so in combinations too, of close and far – through pressures of performance content in which there is a chromatic quality in one case (to push apart), chromatic being a pressurizing of action events by means of their closeness to one another, indeed so close and even so rapid in the time domain that there is no space to fit another event in between them, or between the holes – and, so rapid and fully occupying the conventional space of the piece, that the row of chromatic events do push against the rims of the holes they abut -. And the opposite may be employed, of event and matter vacuum, occupying the space between these holes – where expectation becomes boredom and anxiety then, a starvation for some input to grasp – and, as these holes, empty or filled regardless are distinguished by their quality of change – from content around them – they will pull closer to one another in such a conventional content vacuum.
Steady breath may be a performer’s marker – lapses may be mapped too after the fact of lapsing, and lapsed again, precisely as before – the breath, steady, and the lapse, irregular, may be curated by the brain, and by the lungs – in an order, and jointly. If body memory remains, there will be cascading permutation until the system breathes no more – . Consider parallels of pain and recovery, or pain and demise. Consider a feeling of numbness that makes the autonomic act unconscious and then beyond, of no concern, and consider how numbness might bring movement to stillness – consider demise as a series of keys and locks, and while a vessel moves away with fear from the vicinity of nature’s threat, it is found not easy to turn each key in a complex set of locks, so that a system might shut down in its many layers of operation – consider, a numbness to this – .
– A fixed condition of a skin that was moist but in a hot wind, dried hard, and the thing inside the form was encased and trapped –
– A case of forgetting, many mistakes are repeated, but many accident based events occurred that didn’t occur before, and many branches grown, and new lives formed and many more that could be chosen are presented to one mind -.
The thickness of experience is narrowed and is widened through numbness and pain, aversions and enticements to one act, and not another, the thickness swells, the thickness narrows, like a chemical act, and like an animal act where growth means there is something to be used for something else – as if there are twins, and one is kind and gives but only when the other has occasion to take – .
A set of reactions of an individual in a specific circumstance with a set of know parameters – is useful to plot on paper, and isolate each possible aspect of the reactions, and draw for each a sack or bag that hangs from that response into open space like an unlit cellar with no door or windows, but only some holes through the ceiling through which the sacks may hang, and a cellar of sufficient size to accommodate several small and elephantine sacks – in its space -. These sacks will house extensions of these aspects from their surfaces, like roots in the ground, studies of the surface aspect, associations, connections to other cause -. The map-ish form of such a drawing on paper allows to visualize many possible equivalents in a performance realm connected to a surface cause effect relationship(s) as well as extensions to each of these that may lead to many parallel understandings of interconnections and thus, so many performance interpretations -.
Intro. Duction of Ker Null
On the basis of a past, is assessed the likelihood of positive future outcome for some as yet unrealized project or thing – . But, positive must be such as some not new project or thing, as based on past- and, if realized must have been at least successful enough and supported enough to be realized, so, it is hoped to realize something having some minimal level of relevance and perhaps “one more” step beyond to make a thing new – so- appear to have a purpose, twice- maybe, time difference, enough to satisfy. So, if the maker agrees to this unsaid contract to honor a minimal quality of past achievement expect a successful realization, a duplication of the shell, the inner statement nullified by the – repeat – in this way individual development is confined to a personal art history, and creation the singular experience it is, is placed far and invisibly beneath the dressing of continuity.
Face the thing as it speaks this one time, while framing through the toothless tongue-free mouth – neither chews nor tastes – a formulation sits outside abides, and guards, and holds, and imprisons, too, so, we can see what happens in our world.
In practice find items with varied levels of give/ flexibility, weight resistance, either attached but loose, heavy but can be picked up/ moved, or, completely inflexible- grade them- in a series- easiest to move, to hardest- use as inhibitions on artist to gather, on different limbs/ parts. A graded simultaneous distribution or, as a series, in a sequence-
I validates and points to unique place of each variant and content point of time use -, intentional and external both -, and codifies content, too, – while giving a value place- that is not qualitative like place holders in an equation not stigmatized by size or scale of quantities in application-. The time is in use, the wakefulness validated by presence of purpose and desire for accountability and meaning.
Take a package of 500 sheets of copy/typing paper
bring it out-of-doors and take paper out of packaging
place paper on the ground
wait as if to stand guard
if sheets blow away or move, collect them, wherever they go
end as wished, but all paper that has departed must be collected
use paper for purposes as condition of paper allows – remember the paper’s rich adventure ….
bare the hand of audience (1 person)
several performers converge on the audience member’s hand …
performers perform simultaneously
performer 1 touches hand with feather on wrist and palm
performer 2 rolls ice cube over knuckles
performer 3 holds warm piece of metal to thumb
performer 4 rubs small stone between the fingers
performer 5 sprinkles salt over hand
performer 6 tugs at one of the fingers
performer 7 pinches places where the skin seems loose
this may take place over an afternoon or also very quickly in under 2 minutes
Lewis Gesner is an American writer and artist living in Taiwan. He has published, exhibited and performed internationally for some years. He is a member of Mobius artist group out of Boston, MA, USA, currently on leave.