in collaboration with Juliette Pénélope Pépin, for her exhibition working conditions as part os Satellite, BLINDSIDE 2020 – 2021
still image from working conditions, 2020, digital moving image, 22:50min. | Courtesy the artist.
maybe it could be called
working conditions
also, not a film
an actual moving image
000/
in order, the titles of the video clips moving images are :::::::
^ videos
^ 1.
1.1.
1.1.1.
1.1.1.1.
1.1.1.1.1.
^ 2eme selection
boulanger.mp4
champs.mp4
charpente.mp4
chaux
detroit.mp4
eglise.mp4
foin.mp4
mante
secte.mp4
terrwcrue.mp4
angry_cats_compilation_funny_cats_compilation_-8006128903752149607.mp3
cat_falls_to_its_death_-2502594983216309829.mp3
echaffaudage
feu
feu2
frelon
production id_4669809.mp4
termit[e] mound
troglodytes
video of a tabby cat.mp4
video of black cat.mp4
video of funny cat.mp4
video-2.mp4
video.mp4
^ 3eme selection
benediction.mp4
dolmen.mp4
fertile.mp4
match
vache.mp4
001/
when serious
sounds like a YouTube video when you hold it to the light
wet viral footage
/ \ an unstable scaffolding / \
scaffolding: exaggerated arrangement done for little, including excessively useless reasoning, great display of feelings [emotions],
me, confident attitude. what’s the difference between a feeling and an emotion?
isn’t an emotion the transformation of a feeling into cerebral, legible, information?
maxims and arguments on a subject of little importance
] scaffolding: for indeterminate actions [
what if it was the way around? to what? to when? to this
what if the goal was to come down and inhabit the earth? from when? from now – even if late, now is never too late. \ to touch sense it lightly perhaps \
you never see the workers, but often, they walk in fluid processions of regimented rhythm
^^^^^^^
establishment, institution
appointment, to losing employment
institution, establishment
constitution, colonialism
firmness of what \ the slipperiness of ink
is intuition bergson . state, territory [ let’s not shine through systematic referencing ‘‘
constitution, documentation ≥ to
“torture bed, sort of grill” “…that go beyond human subject perception and are indifferent to its presence…”
the verb to die is expressed in Assyrian by the verb to adhere to the mountain
the Chinese 妈妈 [mother] if pronounced differently sounds like 马马 [horse]
the horse mother is [emotions] erotic – to me
generation, anthropocentricity
let’s not link ourselves to that trait inherited from the moderns
^^^^^^^
death \ to drop than to place
regeneration; becoming other
we can’t rest in one of these three seven moments until it shows itself
seven is sacred luck serendipity
|||||||
we can’t settle down somewhere for fear of [ + great resetting
- in death for example ^in if death do us part^ or until imparted on us <>
or in the generation ^ants that move in a fluid procession of regimented rhythm^
how does it feel [emotions] to be sick? she asks,
pain is not an emotion, suffering is.
will they [emotions] respond?
to heal, you have to be born again [ begin again ] and again, begin from what when |||||||
<> hu-man intervenes and degrades in his original soil, originally it never was
let’s not link ourselves to that trait inherited from the moderns
if we already knew that death was below, we could become something else – it follows that they it already lives here below the earth – something that does not belong to the earth, participating in a system of ecologies that go beyond the anthropocentric subject \
a perception and are indifferent to its presence physical and temporal relations
a perception indifferent to physics
an entirely different reality, interior and vulnerable, taking the measure of the elevation of each moment that does not infiltrate [but is porous]. words won’t emerge then, nor images or sounds, but moving forms
[
what is it their mass,
is there an outline?
] which follow the course of independent and indeterminate events situations
002/
time is a soft \ malleable subject,
belief would have her endowed with magical power
earthen,
fluid
the class contempt of non-hu-mans defenders who listen to the forest from misery of the other
let’s find ways to ensure our survival life[ves]
the best planner in a crisis is the one who makes his own plans listens acts thoughtfully
working as commodity
observation
\the arrangement of the worker’s skeleton scaffold will depend on the initiative of each client/
a drunken ambulance driver,
in the caption ::: the code of conduct to be followed in times of crisis[es]
to see voir
to have to see à voir
to have avoir
after experiencing the energy of what is seen it becomes difficult to give [in]to see[ing]
a work in the matter rather than on the matter
|||||||
_ how to look at moving image without filmic expectations,
this then negates narrative no?
_ the fake image, image betrayal and social media representation,
tiktok suicide
_ non-human centric images and storytelling,
larvae squirming for existence
_ film and ecology, streaming pollution and online activism, materialism-cynicism,
they’re cynical about everything
[let’s hope a spider has made a web behind this screen, waiting for a fly]
_ non sleek, rotten images,
documentation [
_ the economy of the image as saying something important / reflection of the self,
the value of the image. the commodity of the image. these two notions don’t have to say anything important. as
for wanting a reflection of the self,
good luck with that, there have been so many selves left in the past, there’s no real self left to be 😉
sonic tonics
this sentence
