It b

egin

s w

ith a

sor

t of f

old

ing

and

div

idin

g ac

tion,

reac

hing

for a

sp

ecifi

c ar

ea, p

ullin

g to

alig

n ot

her fi

eld

s of

reso

nanc

e I. al

read

y in

pla

y w

hils

t at

the

sam

e tim

e ac

tivat

ing

seco

ndar

y sp

aces

of j

uxta

pos

ition

alo

ng t

hese

line

s of

ove

rlap

.

Goi

ng is

the

wor

d fo

r an

act o

f pro

gres

sion

, not

sim

ply

the

actio

n b

ut e

xist

ence

as

flux.

As

a p

hilo

sop

hy o

f Mod

erni

sm,

II.

and

als

o ec

hoin

g th

at a

tavi

stic

driv

e p

rese

nt in

exi

sten

ce, g

oing

see

ms

like

a go

od s

tart

. It

is c

erta

inly

not

eno

ugh

to fo

rtify

on

esel

f an

d s

tand

str

ong

as t

he w

orld

mov

es a

nd e

bb

s ar

ound

our

fee

t m

akin

g us

all

too

sick

to

look

dow

n at

the

sur

f, fo

r on

e m

ust

mov

e al

so. T

hat

is n

ot t

o sa

y on

e m

ust

mov

e in

par

alle

l, fo

r su

ch is

to

drif

t, h

owev

er m

ight

the

re b

e an

ont

olog

y of

less

res

ista

nce

that

mig

ht in

fac

t ac

cele

rate

one

s p

rogr

ess?

Is

this

tru

e in

her

os o

f hu

man

ity li

ke P

rom

ethe

us,

Goe

the,

Le

Cor

bus

ier

and

Elv

is?

Is

ther

e a

way

of

strik

ing

one’

s ow

n p

ath

that

(p

erha

ps

afte

r a

time)

ind

uces

thi

s w

ind

to

put

it’s

sh

ould

er t

o on

e’s

bac

k?

I b

elie

ve i

n an

art

of

hero

ism

. N

ot b

y d

efini

tion

a fu

lly fl

edge

d p

olar

ized

ext

rem

e of

the

whi

te k

nigh

t, b

ut w

ith h

ead

III

. p

oint

ed i

n th

is d

irect

ion

an a

uthe

ntic

att

emp

t at

find

ing

the

wha

le.

The

term

Qui

xotic

is

mis

used

as

a sy

nony

m o

f fo

lly,

doo

med

am

biti

on a

nd d

elus

ion.

Mig

ht it

not

mor

e cl

early

mea

n a

striv

ing

to r

end

er t

he w

orld

rea

l,per

hap

s le

ss t

o le

ad b

y ex

amp

le r

athe

r st

rike

out

in t

he d

irect

ion

that

is t

he t

rues

t, a

nd b

end

the

con

text

to

your

will

by

mea

ns o

f th

is v

ery

ener

gy

of p

assi

ng?

The

myt

h of

sta

tic r

esul

ts i

s p

erha

ps

less

im

por

tant

tha

n in

tent

ions

and

our

dev

elop

men

t. I

n ho

ldin

g on

to

mat

eria

lity

and

a d

elus

ion

of a

n et

erna

l for

m w

e p

riorit

ize

the

failu

re t

o tr

ansf

orm

the

rea

l ove

r th

e co

ntin

ual r

efine

men

t of

in

tent

ion

and

bel

ief.

So

alth

ough

Don

Qui

xote

is r

emem

ber

ed fo

r w

hat

he in

tend

ed a

nd b

elie

ved

, thi

s ha

s al

way

s b

een

arm

in

arm

with

tha

t w

hich

he

faile

d t

o d

o na

mel

y lo

cate

and

con

que

r th

e gi

ants

of h

is o

wn

time.

The

unre

liab

le n

arra

tor

is p

erha

ps

the

mos

t vi

able

of

all s

tory

telle

rs.

By

ackn

owle

dgi

ng t

heir

bia

s, t

heir

faili

ngs,

the

y IV

. m

ake

this

pre

sent

and

dis

pel

the

illu

sion

of

non-

par

tisan

ob

ject

ivity

tha

t sh

imm

ers

bef

ore

our

eyes

whe

n co

nfro

nted

by

so m

any

narr

ativ

es.

Bet

ter

to a

ccep

t on

es f

ailin

gs,

the

gap

s in

one

’s e

duc

atio

n an

d m

enta

l non

-seq

uitu

rs a

nd s

ee a

ll as

at

tach

ed t

o a

mom

ent

pas

sed

, (so

, on

the

24th

of A

pril

201

0 th

is is

cor

rect

) rat

her

than

glo

ss o

ver

issu

es w

ith v

agar

ies,

shy

fr

om t

houg

hts

lack

ing

adeq

uate

aca

dem

ic s

upp

ort

and

stic

k to

pro

clai

min

g a

mix

ture

of

amb

igui

ties

and

gen

eral

ities

in a

n au

thor

itativ

e an

d s

elf a

ssur

ed t

one.

So

per

hap

s sc

ulp

ture

mig

ht b

e th

e sh

adow

of p

assi

ng id

eas,

the

crus

t bro

ken

off a

s p

art o

f dev

elop

men

t. If

the

artis

t’s

V.

activ

ities

are

defi

ned

as

goin

g th

en t

he s

culp

ture

is t

he t

ree

bra

nch

held

bac

k to

allo

w p

assa

ge o

r th

e p

it d

ug t

o co

llect

d

rinki

ng w

ater

.

(A CHOIR IS HEARD SINGING IN THE BACKROUND)

KASPAR: THE CONGREGATION SOUNDS LIKE HOWLING AND WHEN THE CONGREGATION STOPS … THEN THE PREACHER STARTS TO HOWL.

“there is always some moron who will see satire as documentary” - Philippe Mora Not Quite Hollywood. Dir: Hartley, Mark. 2008

I am thinking about your suggestion of coming as the antithesis of going. I do argree with coming being like fate, I think it implies an arrival of something else to ones location, with the energy lying in that body, and therefor it is is not able to me stopped by us. It is inward but also very much about anticipation, we are at the point of arival and so it seems inevitable that that cap will be closed. With going the direction is outward, we view this from the point of departure rather than the point of arrival, going is all effort, we are very aware of how much energy it takes and its lack of focus on destination brings a focus on the journey itself whether whether that is a celebration or a trial.

I think the Dr John video is very much a celebration, but I am unsure about whether he is coming or going and you are centrainly correct that not knowing whether one is coming or going is bad as it would logically be an internal conflict regarding responsibility for action in setting out. Are you meant to be paddling or not?

The images I sent from Laurence of Arabia and from a film called Sorcerer. Both of these films are obsessed with journeying, with Sorcerer concerning a number of damned men attempting to drive unstable explosives through the jungle in trucks in an attempt to win their freedom, and the other film focusing on the traversing of legendarily intraversable arid places, and the relationships of men to these places.

I’ve been trying to work out the relationship between our idea of the jungle and our idea of the desert, the best I could figure is that the jungle is an extreme of information. An infinite of interconnecting line and systems and if you live there you are part of it and can see any movement or disturbance from a mile away by the way it effects your immediate surroundings.I think the desert is a great vacuum (do you remember the poster for the film Jarhead? with its tagline Welcome to the suck) pulling everything into it.

I thought perhaps that considering what this Other space was, was a good idea. what are the extremes of Other territory.

and my final thought is

isn’t it fascinating when people are acting and don’t remember why they are acting?

23rd April 2010

There is something here about intent, the same actions mimed for differing reasons, and how this is essentially replacing the core of something and how that can sometimes bring about disaster. so often (always) when we attempt to recapture a moment, an idea, a feeling, we fall short. and worse than that we getting a sickening taste of realising something artificial has entered when we were so expectant of not only the original but the original amplified by our lingering on it.on a side note perhaps this is also capable of being played backwards, the catharsis of returning to disaster, is that perhaps exorcism?

thats what comedy is, tragedy plus time Lenny Bruce

satire/parody/imitation

this plays on our reconfigured eye, what do we expect from an experience? what do we believe is the author’s intent? which layer of image are we going to focus on?of course fiction is just that, fiction, and cinema is shared conspiracy between the people making it and the people watching it. So when we sit down we assume a starting position. How many times have we sat down with one preconception only for the film to shift this by force? Not many perhaps, but it does happen and we have to concede that the director was more aware or less aware than we original thought.

There are examples of when this has been consciously played out, a good reliable example is Twin Peaks, the actors are directed in such a manner that the expected (and delilvered) awkwardness of American soap woodeness is merged with it’s physical cousins of disjointed human relationships, hallucination and hidden agendas. Bertolt Brecht’s Verfremdungseffekt saught to slap the audiance out of the slumber of contented viewing and indulgence and bring about an attentiveness and an active viewing. David Lynch’s audience wakes and is still unsure as to whether they still dream.

My uncle age 7 was riding his bike one morning up and down the street they lived on at the time and getting a little carried away he lost control of the bike and rode right off the edge of the pavement and down the stairs to a basement flat below. he had injured his left leg quite badly and limping back home he was greeted by a friend of the family who asked him what happened. He replied I’ll show you and took the friend to the bottom of the street backed up his bike and faithfully re enacting the incident rode the bike back down the stairs...resulting this time in a broken leg.

“IF YOU GO TO A PUNCH AND JUDY SHOW AND YOU’RE ONLY WATCHING THE WIRES… YOU’RE A FREAK.” Dean Learner Garth Marenghi’s Darkplace Dir: Ayoade, Richard. 2004.

I think its about spreading outStopping and spreading outCarryingDelivering somethingMoving it to its place of useBut having various protocols, - or even simply the ability to improvise - for potential situations, climates, circumstances.To stop and survey, to record.Topography.It is to be prepared, but to have a larger whole that contains dedicated agents, the demarcation of responsibility.Its being part of a team, to be words in a sentence.The etymology of the word team being traced back to expressions meaning to pull or to draw.So it leading something and supplying its motion, its energy.And I’m maybe interested in the jig that lets that happen with ease, with clarity and precision.Not just supplying to force but the reasoning.The application.Ultimately though its about moving forward.About progressing.But not about the end, not about completion which is stopping.A pausing on the road is not stopping.25th November 2009

On Going: The Thing and the Image of Itself Dorey, RalphKorner, Naomi2010

www.ralphdorey.co.uk

I had this idea for a story about a man on a train and how a train is a place that’s moving, a town you can’t leave. and another story about someone trying to put together a machine in the dark with the torch in their mouth. but these never got beyond the descriptions.2nd May 2010