I Fell Back and you were there

 

by Ilona Sagar (2014)

 

Glass inertia. 

High-rise steel frameworks, drop down into socketed voids.

 

Roll your back heel to the ground.

 

You become things – native objects shelled in a blanket of whispering.

Putting your ideas behind glass.

 

This is more like talking. Thinking rather than listening.  A great deal of what we think we think about, is felt, as much as thought.

 

 

Historic tropes, Performitive short hands, lost words and lose connections. Looking for a sign. An outline of a contemporary body.

 

This isn't about repeating, reconstructing a reverent display of historical accurate archival material. But reconfiguring, uncovering a fresh body and newly shaped mouth.

 

 

As I walk forward through the crowd, your there, in-between us. For now unstoppable.

 

Matching the shape of your hand’s smeared movement

 

No longer isolated objects but isolated ideas.

 

From the surface of the body to the distribution of property.

The theatre of public space.

Diagrams of social power. The exact nature of how we hold our self.

Unfolding shape of inhabited space, characterized by growing density, mobility, and noise.

 

All matter harmonised, equalised folded inwards.

 

Break the flow, faster, heavier sardonic tone

Find the good in everyone.

 

1966 Schema (march 1966)

1966 March 31, 1966

1965 number scheme

1966 side effect/ common drug

1966 homes for America

(male)

 

Facing downwards, balanced on my elbows and knees. I set that same position up on end, onto my feet, still curled up as I sleep.

I’ve always felt that a drone could never be recorded. It is exactly specific to its live time end to all the elements of that moment. It requires the immediate living faculty of perception and comprehension.

 

The frame the grammar of things.

Sweat sticking skin against skin.

 

I take a running start. Jump as far as I can. As I land I turn to face the direction from which I came and pause in the posture of Horus. My hands in place as if to catch the jumper. My arms drift open and out and I think of the moment of passing between walking and sleeping.

 

Archived  movements, distilled in text and commentary,

Contemporary body informed by arcane action.

 

Out of sync with your mood. 

Moving in and out of dead territory.

 

This space is an old habit.

 

No marking. No direct actions

Publically deceptive.

 

The whole question of measurement seems to lie at the center of what I’m trying to understand.

 

Keep your knees bent and arms in front of you.

Then roll onto your back in one motion.

 

1966 Schema (march 1966)

1966 March 31, 1966

1965 number scheme

1966 side effect/ common drug

1966 homes for America

(female)

 

A relentless, ritualistic, refinishing surface.

 

Strangled and sterile air. 

 

Our skin is permeable. Sponges, we soak up meaning.

A repository for design identities and immaterial forms.

 

Transparent, clear, truthful traits inherent to substance or matter,

mesh screens, translucent walls.

 

I construct myself continually and I, construct you, and you do the same.

 

Both skins and maps, multiple parts; that appear to have been bowdlerised from a once unified whole.

 

Like trophies repurposed. Something shed and dropped to the floor.

 

I’ve replaced my own flesh with forever-taut

silicon blubber, acrylic glass,

 

More self-healing than self-obliterating.

 

1966 detumescense

1967 likes

1967 income (outflow)

1969 lax/ relax

1969 time/ place extension

1971 two correlated rotations

 

You see through, see past.

low-harmonic distortion.

 

Transparent. A simultaneous perception of spatial locations.

 

The disconnection between gravel and substance.

Cut free from the wreckage.

 

I choose that impulse,

To be aware of that impulse.

To edit as you go

 

Notes,

 

I’m standing on my right foot and the other one is splayed at an oblique angle to the right foot.

 

Finger of my right hand is in my belt loop. The other finger…the index finger is inside a pocket, L,L,L,legs quite akimbo, because of the splay of the one leg. I seem to be leaning slightly to my right side. As I say that, I tend to bend a little bit and lose my balance. My balance is on the right foot, the audience left side, and now I rock back.

 

 

What do I stand for? Not the inside or the outside. The surface and thing. A stand in for incarnate substance.

 

Geometric. Anamorphous.

 

The frame the grammar of things .

 

spliced.

 

Hot breath.

Warm tape.

 

Warm tape.

Hot breath.

That sound of warm tape.

 

Ubiquitous patterns forming movement inside and outside of each.

Slipping back and forth in nodding repetition. Form, space cognitive voids extend into curtain walls, façades. Simple trusses, anticlastic cable nets grid shells, and glass fin structures.

 

Bend only at the knees and hips.

move your feet with your body. Do not twist the spine. Pivot on your heels or toes with your knees slightly bent. Keep nose, knees, and toes pointing in the same direction.

 

This constant doing and undoing, prosthetic doing, feels productive, even healthy.

 

1966 detumescense

1967 likes

1967 income (outflow)

1969 lax/ relax

1969 time/ place extension

1971 two correlated rotations

 

Intersection of surface and volume.

Recurrent failure to control the behavior.

Leaking at the eyes and the corner of the mouth.

 

Find the good in everyone.

 

If I were able to lift that up, which I could, the body would be preparing for that weight.

 

I know that I am bunching up,

I know where my hands are,

I know my eyes are closed.

 

What is natural impulse movement anyway?

 

Hot breath

Warm tape

 

Warm tape.

Hot breath.

That sound of warm tape.

 

Stupefied with mute anxiety, at your unlearned ability, to articulate your surface intelligently.

 

Systems of durable, transposable dispositions.

 

Structured structures.

 

Body of glass, wrapped around a 3d object struck out at flat algorithms

 

1969 binocular zoom

1969 roll

1970 tv camera/ monitor performance

1970 body press

1969 like

1971 like

1972 two consciousness projection(s)

1972 past future split attention

 

This transparency should facilitate the participation of the public,

The illusion that you can see in as much as see out.

Compliant emulsified agents.

 

Often movements have a natural aging process, like any idea. At first they are new, a little rough. It’s fun to work on them. To try to resolve them. Then they become full and eloquent. It sometimes happens that they start to feel a bit calcified, a bit confused and empty.

 

Watch as I wash forward.

Instructions for a body. A crystalline state.

See the good in everyone.

 

Somehow I no longer accepted my head as my workspace, and I didn’t want to think up any new pieces.

 

I found myself falling into a state of passive identification with animals. You might say I was anthropomorphizing. But I’m sure that mind takes many forms, and as words are just a kind of notion, mind is in no way limited to verbal man.

 

Each

 

Each

 

Each

 

1969 binocular zoom

1969 roll

1970 tv camera/ monitor performance

1970 body press

1969 like

1971 like

1972 two consciousness projection(s)

1972 past future split attention

 

Warm tape.

Hot breath.

 

What would be the point in remembering?

 

What would be the point in remembering?

 

The frame the grammar of things

 

Hot breath.

Warm tape.

Evidence of significant moment.

 

Warm tape.

Hot breath.

That sound of warm tape.