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| | [derrineda] Living in the freaky zero and dialektik materialism the first requirement of manifestation of a room: the inner knowledge and balance. all the rooms are connected, there are no separate realitys or absolutely closed circles or systems of communication. do we have anything to do with that knowledge, to use it like a tool ...? from the human position it seems most universal to find the inner empty room, the room of the silence. it’s in the centre of freaky zero: the Urklang. the aspects of freaky zero are: 1. clear knowledge/idea/text/macroworld/the view of the buffalo. the transitions are high sounds on the top of the head and visualization. 2. word/visual/apocalypticmystical aspect/thought in material/the view of the eagle 3. sound as emotion/vegetative aspect/mushrooms/microworld/seeing/view of the mouse. 4. touching/the sounds activating the volition/material aspect/the view of the grisly. the opposite aspect is always karma. nowadays i’m living very "interesting" life. it reminds me a text. if i were a text it could be like an ideal object hanging, rocking and chilling. but that "reminder" text had an episode somebody describing some other texts, using only epithet "interesting". look: from one hand i’m living like lawrence durrell in "my family and other animals" by gerard durrell, from other hand like kurt tucholsky, from next hand like pipi longstrumpf, from another hand like some character in the dystopic rooms from books by vladimir nabokov, for example "ada" or "invitation to scaffold" or like somebody from texts by nabokov-2 (cloned nabokov, the machine of deconstruction, character from "blue fat" by vladimir sorokin). look: sun, garden, flowers, me, visine eye-drops, mate tea, jai hare krishna incense sticks, sounds, etc, fun, texts, etc. i also composed a robotik elektro track where i’m singing: the robot is lookin to the garden through the window, primeval sound is in the centre of the freaki zero, all the systems are working normally, origami of micro-macro, panorama, i’m the metastar of my nonpossible timespace. one day i will send you this cd. can’t make copies at the momento. presentation/lecture/performance: it held place in a night club called tallinn (capital of estonia) in tartu on 11th of sept, my birthday. there were five lectors, and evrybody was dealing with subject ’theatre foto’ without paying any attention to theatre, even ignoring that circumstance. (by the way, it was the largest local theatre festival. the curator of this event co-wrote with cyberpunk researcher jack tomberg a play "aurora temporalis" that included many quatations from jlborges, ggmarqueze, shamanistic traditional stories; allusions to hyperborea, boreal plateaux and digital borea.) i was showing a documentation of my performance at the festival time-space-movement. i said: here u are, 24 theatrefotos in every second. in the video i was mixing many sounds and images and a lolita was reading a text.the text was flowing and it was not easy to recognize all the meanings, but when u catch one you can use it as the door to the alternative state of conciousness. you are right when saying that video contains the physical power of overinforming and thereby hypnotize you and we have seen too much trash coming out of a vj-s monitor. we need special techniques of watching, to watch every frame from 24 like funes who remember everything. tools are sovereign abstract machines. separate reality is an antithesis of meanings looking for material (photos). it’s a product of the synergy of the room/installation/landscape (we have also the knowledge that all the temporary emanation is destroyed like i.e. after a especially secret ritual) and an anonymous coachman of death, the interventionist "third" eye. h in opposite of the we need to create special watching strategies. w.rabbit4experiments created the special Aspiraition: to meet the Urklang (~primeval sound) during the vision-looking in the dark forests of tender hyperborea (tender night is the paradigm of universal unconditional) first s/he discovered the room, builted up by architectonic tensegrity, clouds moving over the sky from left to right like a screen; then he was amazed by the thousands of special freaky insects landing on his/her sleeping mat and starting to make love. this was the Urklang. according to the mythological (mental) images, the point of the room, where happened the act of Creation was the most precious. a point including special sacrality and meaning of the world-tree. you say: >fotos are meanings looking for material/separate reality/a need for materialized meanings. materialized meanings are strange knowledges, rhizome of tonal (the room where the spirit meets death), ancestors, sometimes this knowledge seems too abstract to use practically; the understanding of holistic and holographic nature of the universe is the Tool. Ki'wa 2003 |