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pickled_feet
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###### crossroads.htm ######
Self-development of inner rain-curves of madness (diagrams - falling arcs of
repetitious overplayed behaviour).
Diagrams of the bus before the crossroads.
He waits in the studio and its hidden purpose - to record these diagrams in the
reflected glow of the event.
Bus stop - crossroads episode - an ordinary intersection of roads becomes
outside manifestation of madness.
An ordinary intersection - so called - broken down to colours, light on rain-
soaked pavement - black sky - traffic lights remembered. Remembered distant
roads. An analysed event remembered (itself the place of this being the autumn
garden with a changing room water-shower ceramic light blue or dark blue of
night sky above down the road modernist living cells. White flowers hanging
like moons in the smallness of a rain-soaked street).
Inorganic features of a changing space or interval of growing autumn blankness
between each flicker of a flat street-scene imitating inside depression. An
hypothesis excluding the reality of the room / of cubic rooms and their action.
Living cells flicker on and off of new night mist of heaven and hell - the last
phase of the outside world. Chemical hypothesis of schizophrenia against
itself. Bland abstract backdrop gives a bare geometry of the average street
Fair light and weather conditions to appear alongside the arrival of the street
past and present / of the brass bedstead measuring vibrations.
Blank space flicker between all coloured (hand-coloured) cubic rooms and their
action. Living cells flicker on and off of new night mist of heaven and hell -
the last phase of the blank frame between each frame - those blank frames
becoming flicker on and off of new night mist of heaven and hell.
White flowers hanging like moons in the car amongst pans and gaslamps and
wrappers for the correct light and the place of this being the autumn garden
with a changing space or interval of growing autumn blankness between each
frame.
The studio and its hidden purpose - to record these diagrams in the smallness
of a constricting black room. Rooms are repeated - actions repeated in changing
colours hand-made with a bonfire - torn, stained denim and checked shirt
flailing against the ash dust and dense smoke. Repeating that very same moment
throughout the film in intense moment colour - overlaying of outside madness
fits with overlaying of maps.
Inner rain curves of madness.
Inner organic curves of madness lit artistically against the bland back-drop of
a constricting black room.
Diagrams of the street past and present / of light changes of the average
street and the bus has stopped just before the intersection. The passengers are
pressed to the windows, looking out individually at the thin rain falling now.
Bus-stop experimental repetitive film -he watches the cross-roads all day,
trying to cover all angles on a scene which seems to repeat itself at definite
intervals. The last phase of the room / of light changes / of the outside
world. Chemical hypothesis of schizophrenia against itself. Bland abstract
backdrop gives a bare geometry of the room / of light changes / of the song.
Translucent hand colours for film - rust, organic colours - berries, flowers
and grass copper-green sediment in electrolysis wine stains chalk, clay, soot.
###### film1.htm ######
FILM FACTORY OF REVEALED MECHANISMS. Of its production line of shuttling
backwards and forwards of the camera - shuttling FRAGMENTED - a factory for the
manufacture of the false and high moment - high moment on stage in the opium
den. - high moment fragmented.
A film factory (in multiplying rooms and sets across all times and places).
Factory of all the mechanisms for the film - (mechanism such as that below of
extinguishing light. What a function in eternal time is - existential purposes
of mechanisms of limousine (Kafka's transportation)/ film-set/ theatre etc.)
script mechanisms (are film mechanisms)
investigator mechanisms
love mechanisms
- FILM FACTORY OF EXPOSED MECHANISMS (exposed-hidden - there in writing and not
outside critically)
film factory of exposed mechanisms (how it tells itself) and of murder in
darkness
in a darkness of extinguished lights
of the corners of any possible set after the lights have gone out and before it
could possibly have been arrived at as a location or idea for a film. the opium
den theatre existed a hundred years before it could possibly have been arrived
at as a location or idea for a film.The opium den theatre existed a hundred
years before the lights were extinguished after the day's filming and it has
often known darkness over those hundred years not having existed for some time.
FILM FACTORY of poverty and dirt - rich and luxurious sensuality in a world of
dirt and poverty - of gin descent and wet falling - saliva wet, piss wet, blood
wet falling down on the street and rising in light, alone.
Film factory composed of that poverty - reflecting that poverty in opulent sets
of low dives
cardboard words tell of an extravagance of rising painted in bright, dusty
colours of dress
extravagance of rising
of the dark, high moment constructed by the film factory of all sets before and
after - past and future of true and false - in all times and in all places -
connected by dusty darkness - by a turn of the head the camera moving in to
follow it more closely. shuttling back and forth movement of the camera and of
his film expanding inwards and outwards across time and in that shuttling
backwards and forwards that speedy rattling of heading to the highest moment to
the stars in one direction and then suddenly drawn backwards by a memory by
something seen on the street or in darkness - in that speedy rattling it begins
to break down to speed up or slow down cubistically and fragmenting.
###### film10.htm ######
Episodes drawn together - conflated (according to alchemical recombination
charts - circular charts) into baroque conglomerations of events (1000 scenes
re-assembling under the orders). Cubic spaces (bowl of an hourly night sky) are
re-organised and fit together in different ways. The studio revolves and there
are revolving velvet rooms - vanishing chandeliers falling in reverse crystal
dust. False velvet doors hanging forwards. Reaching out to the camera. Leading
nowhere. Barriers inside out - pushing the camera outwards into the waiting
night and false light low camera on pools of mud in the misty studio recreation
of a 19C street with its arc-light gin palaces and shadow-play across contained
windows of tall bent houses. Bluegate Fields in the earth (sodden, modern he
lies down drunken upon). Under set cobblestones - real sky.
Film-machine has been applied poetically to a number of situations - ,
a light rain; the opium dens:Dividing the falling arcs of repetitious
overplayed behaviour - a continuous filmstrip overlaid on itself gives
these curves which are compressed in the tight structure of the opium
cell manufactured for the purpose of this opium-time overlay the room
compresses (comprises) itself - self-generating and is found empty
(damp leaves, moss) after hundreds of years).
###### film11.htm ######
Simultaneous scenes from multiple viewpoints. As a device which absorbs
filmicly reality in its present moment choosing to replay at that moment -
moment of the star's action seen and replayed or (having stored that reality)
can rewind to a moment, replay a moment seconds or hours before - the whole
thing operating as a loop or as Burroughs recording seeing what is recorded now
(being recorded now) and being able to simultaneously see/hear where it is
cutting in in a replaying. The forwards and backwards of the tape-recorder with
the now of its all-seeing head.
###### film12.htm ######
Principle of connectivity - branching according to principle of simultaneity -
that for the system of the film one cannot take an outside procedure, alien
procedure to organise it but use itself as organising principle - principle of
its own denouement in simultaneity. Branching of scenes within the
simultaneous. That the simultaneous playing of scenes A and B result in scene
C. (cell division, multiplication). In simultaneous scenes cross-cut then
expansion A&B to C.
###### film13.htm ######
Cubic rooms
-links to CHEQUERBOARD - Cycle of what may or may not have been
leading to the mannequin reconstructions of the investigator now echoing in a
chequerboard across the film (black and white of scenes) - as if all could have
been contained, told in that close-up (all now covered with light changes of
tones of white - shock of flesh-tone - and flashes of orange now turning to a
shade across an arc of skin.(a very slow mechanism)).
All echoes of plot-lines echoing through the chamber of a white mannequin
close-up and what resounds from that chequerboard reconstruction scene occurs
both now and in the past.
Absolute points echoing and delaying through white line of reconstructions on
and off.
It could all have been (past and present possibilities) contained in the
mannequin chamber
- as if the film were woven over the top of that close-up/detail which feeds/
fades/bleeds through at certain chess-board-move moments as given by the cubic
room architecture (reverting to the fact that there is only one room with no
outsides and inside the monitors, nails growing and a flight-path established
over Las Vegas in plush velvet or a shack in the desert before the city was
there and wind-blown and bottle-blown).
###### film14.htm ######
Planet rotational mechanism - A planetarium on the dirty ceiling of the opium
den (a mirror on the ceiling - a projection of light). ceiling open to the sky.
Reflecting in hard lines. Giving glass - glass lines of a mirror covering the
ceiling. A planetarium open to the sky showing the rotational mechanism
governing the direction of the film. Ordering the director's scenes. Small
points of projected light (points of light of selection of planetarium-led
scenes and points of light in the mirror of a scene - smudged and hand-coloured
with Rorschach red bodily colour). reflecting the dirty mattress, red cushions
and his unconscious clothed body - reflected on the ceiling. Zooming into that
reflection as the camera rotates twisting the bed into a spiral. The mirror on
the ceiling hard and silvered contrasting with the smudged softness of the room
in winter smudged by the soot of oil lamps against the wavering silver of their
reflecting backs lining the walls of the room and giving points of light. A
mirror, hard, silvered and elegant transporting the poverty of the cloudy
winter room (mist of breath and fog yellow silvered the room) towards luxury in
smudged deep reds. In soft focus obscuring the harsh twisting, spiralling lines
of the mirror - gas lights flaring into lines of colour (just like that day in
the churchyard) - smudging the room geometrically in the soft focus of the
mirror or lens as he twists his face towards us grimacing in tunnel agony (of a
description of light, of the tightest place - the room's ceiling open, the
walls red and tight). Zooming into reflection as he twists on the bed becoming
night-sky open roof, night sky outside the closed room.
Director's rewind mechanism
in the cold glass house
in the modernist house
in the country gothic mansion of revealed red brickwork under glass.
Director's rewind mechanism. Spools lighting the bright house under glass.
Glass-eye-mechanism of the house
###### film15.htm ######
Worldwide machine - film-machine, reality machine.
(description of a process). To use REWIND DEVICE as a section of the film (a
cycle of repetition and change explosively going back to some extent over the
film) or to use it as a device through the film in concurrence with
rebeginnings (rebeginnings exploded by the rewind going back before the
beginning always). Excessive rewind and change in minor details of an opening
butler awakening Dorian Gray scene haunted by the entry of the modern day and
revealing eventually the director rewind mechanism.
And that rewind - a thin-ness of film-colour (autumnal thin-ness of colour to
be looked into and through) which comes to be tinted in the explosive speed of
rewind.
Movement of speed increasing - curl of film rewind shuttling back and hitting a
forwards. Going faster at the end of a sequence to suddenly jump into a rewind
which slows suddenly and begins again, begins again interrupted by another
possibility - another detail to expand from and again and again the same
movement, movement of autumn.
As in movement of planets rotating (and deciding the MECHANISM of the film) -
- a planetarium on the dirty ceiling of the opium
den. open to the skies.
###### film2.htm ######
Film-machine as a fiction (possibly) connected also to the centre
(investigative (detective), psychoanalytical (and also bearing the cold air of
a day spent clearing the leaves for a bonfire by the fallen glasshouse),
concentric (link cubic rooms here) and also Centre is lodging place of film-
machine - MYSTERY of whether the film-machine exists at all or whether it is
(within this story) just an ill-conceived possibility made evident with poor
technology of spinning disks and film-loop - whether it is just a mock-up (like
the cardboard glitter of an opium den theatre) invested with false powers. It
is thus a fiction within a fiction but all the same the poetic expression of a
modular ongoing script and its possibilities - and expression also of a lack of
an outside to a script which can reduce itself as the world to a grain of sand,
to a room with all the possibilities of its future absolute diversity expressed
by a work of art - that possible future diversity expressed as the coming-forth
in fast time of the ongoing script as a chain of absolute fixed words. on that
border of reduction and coming forth (as a device - just as the smallest
element of the script becomes the overarching principle).That the device or
mechanism can be a written text which writes in its own procedures, devices but
these are not to be seen, explained but there in what seems like the
reconfiguring of the text - writing as if to be reconfigured eternally - or
writing so that it can be in its sense reconfigured eternally - the mechanism
can be like the spaces in the text of Mallarme'. Writing open to all its
variants which are not random but described in the text - rules contained in
the poetry of the writing and in its repetitions - idea.
###### film3.htm ######
Description of devices and mechanics - choices as mechanical-mechanism along
lines of tables and rotating wheels - Babbage mechanism).
MECHANISM of chequerboard logic - of the next cubic move
fallen room as now-film mechanism
inserted pulses of the present
decay drawn back
in the empty mansion.
- of the film's expansion (for the director) being so as to catch himself in
the cross-over of disguise (Genet on Rembrandt - receding route across cabaret
evenings (transmutation in blue light of him into her in the smallest space -
light rain falling under blue light flicks the lights out in a short, hot burst
out but still blue - drop of rain). Receding route across cabaret evenings of
multiple disguises (that transmutation) in candle darkness).
(always for each character a search for a false death - beauty - so as not to
live on)
- Coincidence of film to be made and the film that enacts itself here (device
of a filling up from the outside - of absorption and cell-take-over of all to
the present) - his own death-cube as himself/not-himself/himself to come in the
film to be made of his own death - reaching towards that point through his
expansion of film-process - that the director succumbs to the plague of his own
script based on his life as Dorian Gray after the event (frozen back-and-forth
of expiration moment which contains in its backdrop the long journey to the
docks in disguise).
###### film4.htm ######
A pull-away of reality in the film endless journey through false cubes and
making-false categories becomes in a compression of time a stuttering an escape
repeated again and again hitting the walls moving inwards camera moving inwards
(now-film-mechanism is compression) .
###### film5.htm ######
mechanism of time-lapsed dawn opens out to allow words into the spaces for re-
organisation.
###### film6.htm ######
PLANETARY ROTATION giving light and dark as sun and earth, planets rotating.
Light moving across the planet giving day/night (interval timer switching
lights on and off forever (x seconds/minutes interval) in the empty, weed-grown
studio, moss damp green covering the stiff mildewed tablecloth - kitchen-table
scene).
"wakened before dawn" - light moving across planets cut in to slow rising of
dawn across table in miniature - existential idea of light and dark given by
(internal idea of) planetary rotation (smallest mechanism - music box planetary
rotation).
Planetary rotation giving day and night/ light and dark/ dark pierced /
entrance to a theatre descent.
rotation of camera (on tracks)
rotation of revolving rooms
of carriage wheels and escalator wheels
cyclical scenes and circling light rising across objects - the dawn. A planet
moving out and away from the camera in its elliptical orbit in the mechanism of
micro/macrocosm speeded up motion of slow and fast ellipse of its rotation into
distance (orbits mapped across dimensions - on the flat).
###### film7.htm ######
Laborious (theatrical) translation of the filmic - eg. book on Maid's knees re-
engineered for closer examination. A Marey/Muybridge technical/machine
examination of movement (Marey's apparatus of displacements of air within a
cubic room, a cage of measurements - cell structure reduction again - drive of
the film being this cell architecture which is being driven by the director -
film-machine as theological seeing in finest aspects all moments from all
angles- drive towards absolute measurement. He is driving the cells onwards.
The Picture of Dorian Gray is the model or blank cell for this study) - Marey's
analysis in a gridded space which could be in the woodland studio and which
suggests darker purposes of cell measurement and of a cage of human
possibilities - pornographic purpose, star purpose, reducing funnel -
Investigator's discovery of this once all layers have been stripped away -
behind the masques etc. of speech and play-acting there is this final purpose.
Final purpose of the film in REDUCTION on stage - eye, water droplet in blue
light -blue bathroom scene - camera movement ever inwards) .
###### film8.htm ######
Simultaneous location of boxed events - simultaneity in contrast to linears of
time and space (of Newton (Blake)).
- Cubic rooms structuring - interior spaces arrived at in the ending -
branching possibilities of events.
Framed scenes - individual. Their own titles. Individual framed scenes for the
character's plot-lines held across cubic simultaneous spaces
a modernist architecture of the simultaneous in a transition of glass eyes to
the glass woodland reflected in the glass of a modernist building open to the
garden open to the landscape by its sheet glass structure. Think again.
Remember again. Open to a line of time a line of space. Recombinable cubes but
there is only one open to the garden to the wasteland. A wall.
###### film9.htm ######
Sliding spaces giving a conspiracy of locked time.
Sliding spaces of a Chinese restaurant (concealed alarms provoke sliding doors
and appearance of cinema room - alternate film realities shown in the
restaurant screening room).
Open and closed spaces - a theatre of light and dark which is the London
streets - shot within a studio.
Shadow-play against the windows shrinks him makes him feel small. Giant shadows
cast against the curtains of thin tight houses. Dark tunnels of streets.
Within question of a linear plot as against cubic assembly of episodes (this
'against' is the story and the pain of the investigator in down-possibility of
a dirty living in a car strewn uncomfortably and day becomes night).
Cubic assembly accomplished through architecture and through a slipped moment -
reels slipping off a film-machine or tape-recorder.
Rotating walls of a room. Purple-suited figure tapping the mechanism with his
stick. Lord Henry (as a figure punctuating and slipping time through the film -
sinister figure representing something else - an outside of clear nonbeing).
Time slipping in terms of the fast-forward of decay of the violets - this is
what drives him.
Parallel lines of carriage journeys into depths. She waits outside the studio,
plays it all out in the studio now empty switching on all the lights. Chinese
restaurant as central mechanism in that it can seem ordinary and is the
ordinary revelation. Something is or seems to be hidden there. All clues seem
to lead there but it is a blank-faced toy of sliding doors exposing the future,
another time or film.
###### pagesixnew.htm ######
Project:
Proposal for film-machine as
metaphor - writing
and as technical possibility - control
system
script generation
[now seen as I/O machine = artificial paradises = documentary [seen - data -
binaries]
DEVELOPMENT
SCRIPT GENERATION:
1) Program to take text and find word frequencies so can use them to arrange
words of the text in some sort of pattern
MIRRORBALL patterns - strobe FILM.
pattern - eg. most frequent at centre and moving outwards to least frequent.
or of erasing/repeating or branch links and joint frequencies
- use of CENTRES and SUBCENTRES.
2) cubic rooms - a flickering picture and zooming into that picture
into modules -to- words -to- modules endlessly
by cross-reference.
3) database for film-machine -to- SCENE dictation and recombination.
4) The CENTRE (dictatorial nature of the machine) - cubic/cell architecture
cell -to- cubic
screen pixil generation
(3d architectural model)
5) project in terms of categories
processes
Rules giving prompts to a growing text
prompts variations of the conditions (or categories)
patterns to text (pattern recognition overlaid on cells of text (subject to own
multiplication also))
CATEGORIES AND PROCESSES
a) teleprompter giving and returning scene (scene module)
b) spacing (Mallarme') changing and evolving in cell structures
c) absolute text generation of a block of text
d) simulation of a possible mechanical machine
With spacing and text evolving as a sort of language - creation of own concepts
and categories which are categorized in space/cell manner.
qualifying itself in bracketting
6) the machine is the program - any description of the machine is the
programming = or rather notation (recursive) (rather than a procedure for
acting on a text)
Any of written texts (eg. song - notation) being adapted towards this recursive
notation :-
[document of a contained world
outside world
(dispersion) night mist, reduced city
alcohol sky - as - chemical sky
tranquilised morning
-----overlaying
interview with ]---
as generative seed for archive material - describing itself (itself as machine)
a set of operations(?) or relationships for the process.
Q of operation (orbital...) vs relationship ---- operation as relationship.
not an operation acting on a text but a generative operation OF a text/notation
pattern which is not that of a tree structure --- (or could be recursive tree
structure - going across all levels of nodes and through all links up and down
- q. of a path - according to links and processes) --- recursive --- path as a
pattern
machine of choked communication
(notebook8)
7) Rotational text composition - language for triggering 'objects' along
orbital/mathematical model.
mechanical/physical model - oscillation triggering.
Textual elements in categories - (not as?) single words - model of concordance
- flash-back and -forwrads of particular words or phrases.
8) Idea of modules - that modules are operative and textual -
eg. category of the 'cut'
subjects itself and other categories
but is itself also content
no seperation of content and function.
self-development of its own simple rules (rather than straight-through process
or system)
modules -- sentences
flipover to other side of word
--
module --
sentence --
word -- cross-over across structure - module--to--word process (seed)
recurrent word-idea
??
modules=word (persona)
words linked together by grammatical structure (before the idea)
(method of expansion across the tree or groups)
9) (architectural)
model of journey through rooms - a map, labyrinth
[ a colour picture of a place striped by horizontal lines - striped place
behind
lived behind
covered with (the picture there) horizontal lines which give more colour (in
the room, on the wall, in her hand) than a white empty sky which could turn
around the photograph to its blank side
to its side falling into the damp earth and buried and marked by a stone rising
into the empty white sky of a photograph. -- the earth is dripping and painted
green and dripping walking in ]
------ positional
through rooms only a certain number of choices for the route - a constellation
of points is linked up.
virus --- rooms --- expansion --- walls
(in our model(Poe))
room/cell virus subdividing itself - in-visibly in equivalence /=/ (new forms)
Rules of multiplication.
choice/decision --< atom
cell
character room-cubic room
world word as unit
universe >
rule = structure of scale-changes implemented.
***
learning systems of recombination from the text.
virus multiplication of text around that word = recombining
virus multiplication of text around that word creates a new module - each word
of that able to multiply (=micro-macrocosm process/machine - subjected itself
infinite regress).
[one module = plot-line: linear progression gives whole plot-line which
on and off
subjects the script to that line without expansion
at each instant
or not]
10) (LULL) A mechanical system of logic whereby the premises of theological
propositions could be mechanically arranged in various orders by a machine or
by complicated tables.
11) As of script containing its own rules
- (alphabetical)letter to book
| |
micro | macro |
| |
eye V studio V
|| [cell -------projection/universe]
turning point
[turning point/turning around of cubic room
of wall-inside space and wall-undefined outside space] ==
procedure of inside/outside
]
outside space of forest dripping undefined in the churchyard - a funeral in
grey leaks of sky
storm leaks of sky
/// it being a film list= eye
film chemistry of 24hr cycle of light and dark
camera obscura [sunlit space/world space for living/
theatre space/film-set]
frames per second
microcosm and projection
studio ---> concentric spaces
Question of syntax when comes to the word.
12) That its own possibilities of rules are contained within it and develop in
every form of a sentence written for itself - even a mistaken(?) rule can be
developed and applied.
ref Livre de Mallarme' ------
The Livre was conceived as a mobile apparatus ...
a multi-dimensional deconstructible book ...
the breaking down of the initial unit into sections which could be reformulated
and which could express new perspectives by being deconstructed into
correspondingly smaller units which were also mobile and reducible.
13) A way of writing involving cellular recombination -reconstructions.
Movement through series of cells subjected to inside and outside.
14) (ICA) (summing up) A planetary-geometric-rotational system of decision-
making based on planetary orbits (microcosm - macrocosm) which are used as
fine-internal decision-making at the same time as mirroring (via a camera-eye)
the outside world through a rotational set-up of cameras programmed for
movements.
[but relates more to pure Film-machine rather than where artp. project is
really heading]
15) cells which can be recombined in any order
but not connecting and also like a virus cells should take over and influence
others - transference of properties to other cells - a spreading disease
cells as mechanism themselves of connection
cells within a mechanism which could be a page of writing
16) script = cubic room
(modules) (modules=rooms)
.. smallest script element = reduction of cubic room //blank side
absolute parallel process of script and cubic rooms giving their own devices.
17) text-generation -
sentences linking according to key words assembled in a matrix of connection
holding modules for cross-reference
[with later work of [cross-media module] as [content/data += process] ===
modular system held of/as its own process(es) - and some viral/sprouting +/or
controlled development [linkage] between modules.
moving further to this idea [like pd program-modules but growable-alive]]
large modules recombined in simulatneous re-combining of each tiny element
as a cubic room
as the idea it refers to
the text(work) blossoming forth from simultaneous micro/macro-cosm
book nine.
18) ***
[network of ideas - around crux of self-consciousness-->out
// of return-choke-process and self-generation of terms for thinking --> artp.
project being as a demonstration of this --> world-forth of new categories]
--------->
impossibility of describing ways in which a machine may be said to 'think' [to
result that 'it does not think'] as this description would need to be done in
its own terms [of thinking]-- creating its own terms of description
-in self-conscious return of any description of thinking
[return-choke process of biology-darkness]
-Large Glass as attempt - self-generation of isolated terms --> on glass /
vicious circle on glass and transparent = in light and outside - the return
placed outside = process.
film-machine of hell inside the soul
as words and pictures in darkness
a picture like a frame of cloud light in a dark storm sky
words - still images pictures refer to themselves..
--->chemical fluidic mechanism rather than mechanical (neuronal)
link to sky above the cell
each cell as a different cell
with a different sky above
overlaid
framed= (key) frame of light sky in storm night sky
clouds lit day sky
--->mechanism of chemistry on glass ------------
cell sweat on glass
glass/fluid chemical mechanism.
expansion of human system/thought
by/through switch-back of reflexivity (seeing above itself) through remapping
of the conceptual using new terms
terms divorced from given meaning structures
our categories.
19) categories:
anna/ barrier/ basil/ beginning1/2/3/4/ cabaret/ car/ castle/ centre/
chinese/ cinema/ city/ cubic/ dawn/ detective/ director/ docks/ dorian/ ending/
history/ hotel/ love/ murder/ opium/ paranoia/ past/ period(drama)/ photo/
postscript/ psycho/ silentfilm/ studio/ suicide/ theatre .
20) input as micro/macro decisional factor against factor of buffer/archive.
21) program generating itself - program as interpreter of the language which is
itself (recursive/generation).
22) natures of information:-
a) diagrammatic = nodal
cellular // diagram/descriptive
b) textual = descriptive
poetic // word/module/text
^
c) binary encoding -- raw data -- analogue/digital --|
v
d) sound/image ---- image of text/of diagram/moving image
natures of information (open-wide)
subject to:
--> devices
| micro/macroscopic
| chemistry
| cellular operations ----> cubic room operations
|----------categorical operations
changing/redirecting levels of information/natures of information.
to----
[further - below as cellular -/micro/macro --
modular=cellular]
|->storage / buffer
| ^
input -| |
| v
|----->process---------> output
(q of input =questionable translation and specification of information forms)
23) [varying approaches +((d) later approach of micro-cellular--viral systems
seeking input and archives)]:
(a)
multiple video machines
audio machines
text process machines -- in parallel(?) - in parallel or one sense to the
division of machines like this being mirroring or mapping of different data
forms onto each other - machine process onto machine process - mirroring forms
and structure across each machine - so working in parallel across different
data/information forms.
(b)
each machine as category/cell running process of that category (category vs.
pattern)
this approach gives no differentiation of data types (perhaps?)
=== division/multiplication of cells multiplying machine/category
(c)
not exclusive to others
modular - processes added/ devices added
patchable (sub-)machines
[none of these approaches are exclusive of one another and do not imply a
hardware architecture - through cellular division of all networked machines]
24) category/cell ---> all information/data forms = gridded. recursive grid
containing itself/other than itself. (cubes into cubes into cubes)(words --
> modules --> words --> modules) manifest in system recursive patterns /flicker
pattern of a chequerboard/ spatial arrangement/ cubic rooms/ time shifts of
film.
A pattern system overlaid on a grid. Mirrorball patterns flattened (total
recursive mechanism of rotating camera and film - projector and film linked in
recursive mechanism entering the lens - expanding the crossover point of the
lens/eye and thus the crossover point of the cubic room).
----- writing a mechanism or machine (in its language, its own performative -
itself visible source/process visible and unfolding) - a simulation (again idea
of Large Glass recurs).
25) modified O.S. to become cellular and self-generating (open) - word/square
links - modular/molecular - learning recombinable squares (possible mockup in
Director).
26) Generative text from seed-text - in terms of patterns of seed-text and
recombination of archive.
that text re-formatted with symbols to givew structure and then symbolic
computation/interpretation from seed --> archive results in new text (symbols
give meaning which is the program)
eg. program to take file of text and interpret symbols/text as operations for
text generation on itself
and on archive (to which it adds itself so that it is also a process of
writing)
could also work as series of prompts for system of re-writing - own entry into
program of archive against new text according to rules (program) - categories -
rules which can be changed from new text (addition of new rules to archive).
27) modules -- equivalence under|
| in |---------text meaning
| of | instruction
modules = [input] data
[display] system
[archive] (system = text)
[buffer]=ongoing transfer of material
from input and archive against each other
is that where the cellular process takes place?
modules operate recursively in equivalence == seen
input/display/archive/buffer = seen = non-locations = module equivalence to -
equivalence subdividing itself - (not) visible (behind).
book ten (technical notes - diagrammatic mostly)
28) process/ database/ neural net
|
|
v
category = form eg. documentary/ cubic /gridular
written text
(scanned/online text)
scanned images
video
- recorded/recording audio
audio generation - simulation of electronic/ mechanical/ chemical/ cellular -
- simulation (can it = category)
simulation at work on itself
system of diagrammatic patterns at work on itself
29) what those categories --> sub-categories -->
what they are and how they relate
one category being `itself' = this ongoing description -->
documentary
30) data storage = sound/ text/ image
|
|
v
micro/macro arrays... (of images)
eg. 4x4
|----|----|----|-----|
| | | | | |
| | | |-----|----->4 further arrays 4x4 --> each
| | | | | | subdividing cell.
|----|----|----|-----|
| | | | |
etc
category = process
(data) type--| === poetic category
|
type/process crossing itself
| | |
--->----|--|
|---<----|
diagram = (of) data flow
(as) image
= cell itself
31) functions = modules
eg.
a) display modules - display as text/ image/ sound [OUT]
b) input modules - text/ sound/ video/ image [IN]
c) prompt modules --> display/ input
d) process modules -->buffer modules --> display/ storage
e) (input -->) storage modules [DATA] --> process
core modules [process modules == storage modules] == script == categorical ---
> base level [light +dark] --- binary - pattern ---> sound/image ---> growth
word module
(growth word module from binary patterns imposed on text)
32) (cellular) diagram = data flow
^ |
| |
process <--------------
sequence -
^
| - catogory = sequence
process cut
(whatever)
process = categories = diagram of data flow (not data-type ? - data type as
irrelevant here) as concerned with flow or diagram of any data type)
core = process
process = segment of data flow
= diagram of data flow
itself -^
flow = cell expansion within which [process/ diagram/ sequence]
cells of crossed data types expanding and dividing
cell = diagrams
link interior|exterior
architecture
33) one approach of division into modules/machines
word = category
process
recombination and seed [meaning-category work/ markov chains/ neural
nets]
image = category etc. as above
but cross-data is central -- cross module // process
process as module/machine
processes such as -- timeline // cut
^
|
[ categorical
generational (neural etc)
against [ patterns and probability
/// categorical
cellular-categorical-generation
(data processing = cellular/ micro/macro = ORGANIC / = implosion and
expansion(zoom))
again]
process as module/machine
as program
as function
as module [inside expansive modules which redirect modules]
as growth (from basic cell) according to the cellular
that basic cell = binary data
a cellular model which can grow modules (turing machine) - can spawn itself
(different to itself - create different modules according to the input
circumstances unspecified - not a rule of input but a biological situation of
input and status) - multiply itself along changing lines -- these lines
combining with almost-script-lines of the categorical
data of/as a picture
of/as a sound
of/as a word
in/ex trinsic of category -- category can only be data in all forms
(transcendental) -- it is this data (but is higher in hierarchy of this as it
is process)
always (divide):
digital/categorical (meaning end
meaning tailed
-returned
-feedback)end
(data storage with header of the categorical)
34) cellular model of whole system/cluster
accepting data in all data-forms constantly
[terminals for word/text -prompt system
video/scanner for images
audio inputs
analogue sensors]
and throughout that system processes are running to use that incoming data -
spreading through/ reorganising it (internally)/ learning
and output // meaning feedback
cellular -- input -- response -- prompt
total system (higher level operating system) for art-p.
35) modules =
inputs ----------------------- database formats/ archive
-> cellular processes -> multiplying
|
-> categorical lines ------------ //category lines and
granular cell processes.
outputs (sound/video)
36) micro-cellular (self-reproducing) documentary of overlaid patterns.
37) [ text modules - (/neural nets/ recursive grammar(dada)/ markov chain) at
micro/macro levels (meme pattern program) ]
---- patterns of a text // growth of key-word matching -> module links -
> final growth.
38) IMPLEMENTATION --- socket connections
viral spawning processes/ programs
simple --> complex chains
modules = category/ script
39) on divide meaningful/ non-meaningful
| Data
v |process
input from ttys
as being meaningful data regarding possible
classification of amount of past input data -video/audio/text/pattern
as regards low-memory input of audio/video
and that such classification operating on certain
keywords (expanding)
is akin to operating system commands.
40) data=program=lisp -- as category = data
41) all data (data/program) as binary code (transmitted along serial lines of
in/out)
binary mode as common reductive principle (pattern micro/macro of binary
multiplication)
1=idea 0 binary
0 heaven
1 hell
1 0 hell heaven
1 1 hell hell
machine code viral spawnings 1hell 0heaven in memory location Paradise or hell
or heaven or whatever we call it and that binary as universal multiplier - as
universal agent across thousands/millions of data/memory locations and no
differentiation of data/program/category/meaning.
42) Expansion of categories - category link (specified by meaning) or word link
(incidences of the word link across matrices).
Expansion of textual material towards absolute generation and multiplication
via methods of:
a) cross-module multiple linking
b) markov chain and other recombiners/splitters of text
c) overwork/elaborate towards the descriptive
d) word linking --> cell multiplication
e) header = meaning links of word synonyms or sub-categories of lists of words
with same meaning - expansion of field of ideas.
f) cross-cut text - folded.
these methods used across each other - subjected to each other in possible
cross-cut fragments.
43) array with depths to store mutations of itelf and past/present/future to a
depth and the overlaid patterns -- a journey through that depth
arrays as elements of arrays + huge superimposed and mirroring linkages (that
one structure can form to become the entire networked system in simplicity and
also in a blossoming of multiplicatory deep/parallel paths)
44) >grown words---|
^ |
-----------------
user input (of files/data) --> arrays
|
v
->process
| | [own commands]
| v
-- arrays
---------------
|
|
V
OUTPUT live/stored---> for further use
45) Invention of a meta-language // itself-v
mirror//storage
that can operate on/as itself as language
not of commands
but modular and extendible. / growable and outwards tending.
/////////////////////////////////////////////////////////////
###### panna.htm ######
A would-be star with mop and bucket entering the flickering world of silent film
Anna's (Sibyl's) career rises up taking her from the stage into early silent
films. Series of blurred evenings (cabaret and
monologues, hysterical speech speed comment on their own construction.
[Sibyl as the young music-hall actress who is destroyed by Dorian gray's love
and by his love of the fictional - by his escape from the fates which she faces
head on].
It is this disaster (overlaying and pushing on present time in an updating of
in its decadence) which the flawed investigator
seeks to avert.
This disaster which he seems to be led towards with the cinema showing the
first clues as to what is to happen and the first signs of cinematic love. A
disaster yet to come - given weight by its stopped repetition - repetition of
what is to come and impending in camera movement of stopped fastforward zoom in
white fog of pills suicide - faked death scenario.
The actress falling in the traffic - a diseased face as the internal/external
garden takes hold - voices in thepast.
###### par0.htm ######
A bright autumn day as the absolute setting (zoom into the tiniest detail in
the crisp weather welding a flat receding earth down below to the heavy empty
sky opposing) for the centre of the labyrinth. The detective thinks he has
discovered the truth and is ready to give up the trail. The forest studio will
yield no further clues. He searches it frantically nonetheless. Mood of
impending disaster hangs in the air - hangs on horizontal lines strung between
the dark bent trees of the churchyard - lines later to be coloured in - forced
through his mouth in selection of throat-colours of inside-colours.
###### par1.htm ######
The investigator is caught up in a world from the past which seems to be stage-
managed (overlaps the present) and acted out purely for himself absurdly.
Events staged only for him (the world turns) - planted there as he seems
haphazardly to cross their path (chance meetings mapped out in the geometric
corridors).
Characters from the past stalk the present - blending nonchalantly into the
background of a contrived period drama being shot in East London. Escapees from
the fiction in flickering grey light - a half-light of ink stains of darkness
at the edges of the frame bleeding in with the night. Showing the night flat in
lit stains. Through this half-light degrading scenes taking hours to set up and
barely scenes - flanks of numerous horses sweating through the city and the
mud. Crazed, scuttled drivers drunkenly (and dazed by the breath of the night
sky and funneled chimneys pouring fire to the sky of a hell) falling across the
battered head-dressed of driverless horses in heraldry. A clatter of lamps
bending rays through the image-stain and flicker. Rays through the air under
hours of heavy night. Rain close in and chopped.
The carriage arrives at the forest clearing. The black fabric studio like a
heavy umbrella revolves to face the carriage which we see now in pink hard
colour. The clearing is lit. The children are led off out of the clearing to
the waiting limousine. They have curly hair. German clothes. She is waiting for
them in the car.
###### par2.htm ######
The film is an absurdistdetective story in which the action shifts from 19th
century opium dens and the squalid inns of the East End, through theatres and
music halls to the beginnings of silent film. In the figure of Anna, an
actress, this past seems to overlap and co-exist with the present, with a
modern-day reality in which she is playing the lead in a period drama version
of the Picture of Dorian Gray being shot in 1990s East London. The detective is
drawn into her mystery, her double life - finding evidence that Anna did exist
as a silent film star, he is drawn into unravelling a murder .We soon discover
that all this has been a set-up, a conspiracy against the detective which is
amplified by his paranoia. He is being led on, through the love of Anna, by
another who draws him to a bizarre, pointless and violent ending. The film aims
to totally encompass the atmospheres, ideas and emotions of fin-de-siecle
London, tracing the history of cinema as a detective story.
###### par3.htm ######
grey dawn sprouts growing daily outside itself to become itself a cubic room of
contained sky
###### pbarrier.htm ######
Barriers inside out - pushing the camera outwards into the waiting night and
false light low camera on pools of mud in the misty studio recreation of a
nineteenth century street with its arc-light gin palaces and shadow-play across
contained windows of tall bent houses.
Bluegate Fields in the earth (sodden, modern he lies down drunken upon).
Under set cobblestones - real sky.
###### pbasil.htm ######
Basil's murder led upstairs - a winding spiral at centre of cubic room - an
eye.
Cuts from the rising staircase - fallen socket candle spluttering skin against
white slow cream telephone pan up cuts from rising staircase to a room on stage
where we see what happens to Basil (dialogue)
Lights go down.
Beside on stage lights flash up on Chinese restaurant waiting scene - intense
and bright colours, repetitious action (asking the waiter the same question
time and time again - the film is looped but it's growing darker outside -
flash of coloured lights of restaurants barber-pole sign).
Lights curtain goes down
Two stages in the opium den theatre. All falling - pushed outwards to the
walls. Characters fading into the intensity of the background. (fading pinks of
the characters)
Lights curtain goes down (following dissolves across the darkness of the
curtains)
Across the dark rise of the curtains of a new scene she is seen sobbing in the
wet, dense, expanding darkness (hothouse atmosphere of monstrous decayed
violets - Lord Henry tips his purple hat and moves on) (close atmosphere -
voices heard off-screen speak of low soft voices).
"creeping at dawn out of dreadful houses and slinking in disguise into the
foulest dens in london."
"What about your country house, and the life that is led there?"
"No, the thing is impossible! The room is damp. Mildew has got into the canvas.
The paints I used had some wretched mineral poison in them."
###### pcabaret.htm ######
Series of cabaret evenings and their obvious mornings - blurring all Dorian
Gray versions staggering out into the dustbin dawn - to merge and rise through
the film
His decline in the blurring morning and evenings which pour what is said of
them as being light and dark
what is said of them heavily (upturned) poured into glare of ceramic shower
trough (which is his mouth - a small blue picture obscured by blazing light)
leaking drunken-ness and star vision
leaking drunken-ness from the star-centre of his stomach
leaking his face poorly (eyes dimmed and animal flashback) against the white
leaking vision red eyes inside facing inside red burst of eyes stars eyes
inside flood of skin
pulled up puking to be led off (off-stage) .
###### pcar.htm ######
A car arrives to pick him up. He is very drunk , passing out in the make-shift
shower he has assembled in the derelict office block which he inhabits. We see
them enter (through her darkness - his blackout) - see hired men drag him to a
waiting carriage (journey to docks seen at start of film). Is it the police
come to pick him up? He thinks and acts as if it is. They beat him awake (beat/
bruise her skin also - a dual scene (split screen?) - bruised mouth in
flashback to what it was and in close-up answering the telephone. Bruise of
parma violetspicked out for a buttonhole.
He is picked up and driven to studio in a driver-less carriage/limousine during
lurid cross-over episodes of blurred nights and mornings of crossover of
himself and Dorian.
We see them enter (through her darkness - his blackout) - see hired men drag
him to a waiting carriage (journey to docks seen at start of film) - at first
is it police come to pick him up? He thinks and acts as if it is. They beat him
awake (beat/bruise her skin also - a dual scene (split screen?) - bruised mouth
in flashback to what it was and in close-up answering the telephone. Bruise of
parma violets picked out for a buttonhole.
###### pcastle.htm ######
The Castle as model - endless piss-green offices cut against white fur and
white snow of winter carriage officer/official. The script is based on The
Castle ( a blank in the eyes and a blank seen - an entirely believable world
which being contained is absolutely painful - contained by the snow and the fur
- the final carriage meeting with the commisioner in The Castle).
###### pcentre.htm ######
The investigator is part of an organisation (conglomerate-society-corporation -
The Centre) - Organisation/offices in piss-green light - endless labyrinth of
offices. A real world - thick yellow cigarette butts - endless tasks and codes,
thick glass doors. They hand Investigator the Chatterton murder photograph.
The organisation --- The Centre --- cell studios.
The director is not seperate from the investigative organisation - they are all
part of the same conglomerate absurdly. He is setting up the investigator from
within the same organisation that the investigator works for in an open study
of him (a new psycho-therapeutic but heavily organised society). An open
experiment in the new logic of a world (but that logic unstated and hidden -
not seen in any rules - a society as our own - taken for granted|). The closed
world of the organisation with its own logic - totally familiar apart from the
barrier of impending suicide enlarged through the lens of a plastic pill-bottle
pills as white clouds.
Dead beach through lens of a plastic pill bottle.
The story begins with the meeting of Anna and the investigator at the Centre.
They meet in the gardens - He is sweeping and burning the autumn leaves. She is
an amnesiac. They collude in trying to re-assemble her past (through
reconstructions - to try to get her to remember).
This is how he is drawn into the game. He discovers an old photograph - she is
who she seems to think she is - which is impossible as she can't be a
nineteenth century actress.
She suddenly has left the centre. Linked to her appearance outside it all on
the coast. Her disappearance - his anger (linked to psychodrama) - the
photograph - he thinks they are hiding something - suddenly the whole mood
changes - paranoia - secret society - games with reality. Her next appearance
as an actress in the period drama on the streets.
###### pchinese.htm ######
The detective feels the end of the trail in the bleak light of the forest
clearing. The only real thing is the Chinese restaurant bag leading him to a
non-descript restaurant. Stage managed. Wrong place on the map.
He locates where it should be - finding a Chinese takeaway bag leading him to a
cinema club behind the take-away.
Chinese restaurant main space of the concentric - as key to modern opium den
(as site of transition present to future rather than past to present - opium
den floats in the future according to the arrangement or geometric ordering of
dark sliding panels or frames within the chinese restaurant - a floating waiter
bearing plates into the future spilt and steaming and as cinema for past film -
restaurant of sliding mechanism itself contained in sliding mechanics of 'city
at night').
"Here there is need to give a secret password ... the folding doors, under the
supervision of two Chinamen, silently swing open at his approach. The soft
light of shaded lamps hanging from the ceiling disclose a spacious hall. The
feet sink in the rich heavy carpet as the visitor passes on to the next floor
where there is an excellent restaurant with wierd Chinese decorations ... Its
patrons sometimes include society women seeking a new sensation. But only
priveleged visitors have access to the room above ... (squalor and luxury
flickering) There are a number of apartments in the upper stories set apart for
this purpose. Each contains a couch upon which the drug victim reclines. The
mattress and cushions are of silk. An attendant (the butler again) noiselessly
enters the room leaving the necessary utensils ... "
###### pcinema.htm ######
The detectivevisits the cinema - led towards a disaster always waiting to
happen. Suicide never seen - the projectionist with a fake dagger in his back.
He visits a cinema, trying to find out more about Anna through her past films -
different roles but the same gestures and atmospheres - the same expression -
all point him towards a disaster about to happen. His love forAnna blossoms
within this mood of impending danger, of control.
Fake silent films.
He returns to the cinema only now showing pornography (same characters - Anna -
moving in closer to the surface of that film).
Cabaret and cinema nights expanded till they become pained (strained height
beneath the stage of a falling back stool)
- drawn out pain of dripping flicker of ended reel buzz in the hot-house
cinema.
Red velvet leakage (as of skin pores brightened in the smoking projector's
rays) - and in that darkness the dual expiration and discovery of the body in
the early morning grey light barely seen.
###### pcity.htm ######
City-at-night cell complex is at the centre of a vast complex of living/housing
units - modernist - 1960s - urban projects on the outskirts of a modern city -
cells for living (repeating the opium cells for an escape from life) -
at the centre of this is the real film studio on auto-pilot (climax of the
film-machine - impossible film in breakdown).
Cells of modern 60s living units surrounding the studio - cruciform backdrop
behind these cells of an intense blue early night sky.
###### pcubic.htm ######
("One could hardly see across the room... Round the walls were a number of
shelves, ship's bunk fashion, whose only covering was a piece of grass matting.
On these shelves were men and women, young and old .. in various stages of
undress.")
Prison-cell ending.
Linear life-time and reduction to cell-life of living and dying. A biological
organism under the skies, under the stars and extinguished stars and
extinguishing darkness. Lights switched off. Micro, macro of city-at-night
studio - closer in through buildings to shelves of people and into the eyelid
of straw matting.
Simultaneous location of boxed events - simultaneity in contrast to linears of
time and space (of Newton (Blake)) - Cubic rooms structuring - interior spaces
arrived at in the ending - branching possibilities of events.
Framed scenes - individual. Their own titles.
Individual framed scenes for the character's plot-lines held across cubic
simultaneous spaces - a modernist architecture of the simultaneous in a
transition of glass eyes to the glass woodland reflected in the glass of a
modernist building open to the garden open to the landscape by its sheet glass
structure. Think again. Remember again. Open to a line of time a line of space.
Recombinable cubes but there is only one open to the garden to the wasteland. A
wall.
Character's spaces:
Investigator - his office. The centre and spaces led to in course of the
investigation.
Anna - theatre. studio. centre (she leaves it for the coast - a reality).
An overlaying room. Inside only adrift. The detective cast outside in modern-
day London and there is the split there. That he cannot really see what is
going on on the inside all the way down to the inside of the Florentine box.
What those overlaying spaces are. Even reducing themselves as the action
repeats episodically in the same spaces.
Barrier of the room moving closer in to a globe of a tear reflecting the
outside - THE OUTSIDE A VEGETATIVE GARDEN OF LOVE (time-lapse garden of past
and future - the garden undergoing the portrait's process in decay and disease
- an overgrown greenhouse - dream syphilis flowers - the garden is the site of
transference for the portrait - empty skeleton poses for the first portrait - a
pinned fake butterfly dying on the sofa, and bees buzz graphic bright yellow
cut-out flowers as brittle as autumn leaves - no-one is there to hear the
dialogue holding in the air).
That one could quickly run through this overlaid room (as an opener) and then
through the teardrop (mop and bucket in the powdered mirror brittle - teardrop
of many possible stories - teardrop flickering mechanism) to the Centre -
outside in the garden mimicking the portrait in its beginning and end under
glass and overgrown on the outside - what goes on inside - hothouse and chinese
restaurant - a cheap ritual of a box-like room in the changing-season garden/
in the empty garden but for in the air buzzing a dialogue of beginning and end
after the world has finished.
Episodes = the story. compressed stories. Episodes within story within episode
- Episodes compressing down (its own theory - graphic models of compression and
other theories. The rules of the game. A switch of inner/outer).
Repeated room shuts itself down as theatre/living space/film studio - internal
room. blind room. repeated and inside out in the skeleton garden almost dream-
like being crystalline and so brittle - like an hallucination of green, red and
yellow prismatic and off-set in space (dead space following through all ghost-
mechanisms of previous action there from beginning to end - scorch marks on the
grass in a spiral lead to the empty body).
All contained in one room. Always the same space inside or outside. The same
semi-urban decayed landscape (on the outside). Transforming through changing
stop-motion light. Or even inside room of the depicted alchemist's flash.
Communicating eye-hole of the cubic room gives flip-over eye of inside and
outside barrier. Or camera simply forced to hit the wall and then to back out
on the other side (own fade-through of the barrier).
###### pdawn.htm ######
A dawn which we always see time-lapsed in the progress of light across last
night's objects such as a burnt-out candle, a fake flower. Awakenings
multiplying each other towards accelerating night. replayed.
Awakenings changing the course of the plot.
Crystal dawns - in love, joys of the music hall / wandering home at dawn
through Covent Garden crystal dew on the fresh skins of grapes or cherries
calling out in the clear, fresh silver air returning to the glass corridor
cold, bright, homeless against bowl of hourly night (tied).
Sickly grey dawns turned against (investigator) head down, drunken through the
machinery of modern Covent Garden. Part of the film shoot. Someone is following
him (footsteps) - pursuit through the market.
A dawn which is always wakened to and always the same. (unless like Dorian one
invents a fiction destroying life). Trying again and again on stage. The lights
go up to white early light through the blinds and onto the bed pinkly but it's
not right. lights out and try again.
The butler in the morning.Dorian awakens to his butler having completed the
murder of the artistwho painted his portrait ... forgetfulness. Artistic
evocation of the crystal dawn. yellow shutters. a book of poetry on venice.
jewels, fanciful tales and lapping water. inventing of a fiction.
Day is dawning in the clearing outside thestudio.
###### pdetective.htm ######
Clues lead the investigator to the opium den theatre.
A succession of obscure clues have led the investigator/detective to these
places but he finds nothing substantial there.
He operates in a twisting, labyrinthine darkness which leads him onwards
towards the light of her love - a drunken darkness of disused corridors in a
sixties office block (falling ceilings of damp foam) - tunneling his way
through visible, physical crowds of the city - deafened glass against black
nights and dripping pipes keeping the time.
The dense, closed life (drunken hysteria in white of clubs and bars and the
yellow book left open and stained on the fading bedside table fading in reverse
morning light fading through end of his head) of the investigator (on the
outside).
The investigator moves through the city at night. His eyes are wide open.
Lights pursed. lips pursed. He stumbles across the full light of the creased
orange sheets of the hotel city at night. He tries to smooth those creases,
trying endlessly to turn back the disaster which is yet to come (prevent curved
lines of earth, creased lines of time). His line. closer in closer in an
architecture of closer in a film of closer in outward hands-person of closer in
joyful blink, joyful tears closer in room barrier stops all idea of ....
###### pdirector.htm ######
The star and director increasingly hollow on an interior journey hollow on a
journey into the insides director hollowed out by the sunlight on the orange
sheets a hollow stomach star stomach of drunken-ness hollow arms pulled out in
light in light of the next move into eternity not reached reaching for.
Legs, arms and head poking out in a false music-hall mechanism sawing in half
he pulls the bed-sheets aside and there is a false hollow stomach full of
night, full of stars and down there, down below the twentieth floor window
(mesmerising itself in its eternally replaceable rain washed window frame now
tiny), down there on the streets stooped bent double in the blue neon wash of
high walls, of a sunken city, down there below the twentieth floor window,
growing smaller and blurred so he can't see his face, blurred and streaked with
a blue neon rain, a grey wash of winter reducing the bare eyes of the window so
that he sees instead a beach-vomitted sky- a white alcoholic universe bearing
his bleached face in the drying pane as a milky way).
red arms, legs and head claw at the sheets in the drenching, staining sunlight
of high day (he turns over on his breakfast, turns his breakfast)
The artifice is amusing but obvious. He can look behind it, see the joins and
falsehood but it is a look which is too intense and can find out particles and
atoms -- can find out a structure of colour in the object echoing the eye with
red and green particles of inside light of light become interior -- become mind
- he holds the look and cannot stop holding the intensity of the falsehood
exposed in the low room reveals a total mystery.
###### pdocks.htm ######
"As you enter the dock the sight of the forest of masts in the distance, and
the tall chimneys vomitting clouds of black smoke and the many coloured flags
flying in the air, has a most peculiar effect."
The film's beginning - extended arrival ofDorian at docks black and white old
film barely seen in half-light. . . .Then the dead projectionist as first body.
Dorian (actor in period drama) disguised as Director goes to the docks in the
carriage. The director disguised as Dorian expires in his hotel room
simultaneous with this.
"When we move out of Fleet street towards Smithfield, we leave familiar London
in a few minutes and reach the lanes and byeways, dark and noisy, and swarming
with poor ... the progress of the cab becomes slow and difficult: angry words
are exchanged with the driver, groups of quarelling or gossiping men and women
block the road; the houses are black and grim and only at corners where the gin
palaces light up their cruel splendours can we obtain glimpses of the
inhabitants"
Dark tunnels of streets - it is itself a studio of light and dark - forms
coming out of darkness.
"We plunge into a maze of courts and narrow streets of low houses - nearly all
the doors of which are open, showing kitchen fires blazing far in the interior
and strange figures moving about."
A shadow theatrewhere hideous puppet shadows move against blinds/windows -
shadow/glass theatre.
###### pdorian.htm ######
The Picture of Dorian Gray (homeless extras drain the plywood bar dry)
overlaying itself - as our reality, as a silent film acted in by Anna and now
period drama). ... a round of parties and conversation - the star/actress/Anna
trying to escape it all in her caravan by the sea.
The film heads towardsthe centre of the novel (or myth) - with the Investigator
as the portrait in its theatrical, sordid gloom growing darker and diseased
decaying in the image of the parma violet throughout the film (romantic dreams
of syphilis in modern day fashion).
- with the Director as Dorian Gray creating fictional lives for himself and
others (as he walks along Picadilly in a period drama - tapping a purple stick,
pinning the flowers of white - Lord Henry creating him, is him. Cardboard
carriage trundling through purple Picadilly mud).
- and with theactress/star as Sibyl vane (in all her roles/levels: the poor
girl washing the steps which lead from the opium dens to the central theatre in
which her career is launched - later progressing intosilent film; the star
washing her clothes on the beach by the caravan; the girl that he meets on the
streets - a night encounter).
###### pending.htm ######
The ending collapses all the possibilities hinted at in the opium den swapover
of identities - discovery of body - shatter of mirror - mock marriage and
celebrations - chinese restaurant.
He is taken to the studio/cell complex where all collapses towards new
monotonous lives and glorious endings.
The spaces visited throughout the film are revealed as concentric - hiding one
within the other until a further mirrored centre is reached.
The moment of revelation is at hand but the actress is hiding out after hours
in the brightly lit interior of an empty chinese restaurant.
An ending which should never have been
All endings of all films now taking place in the central studio - now in
miniature - florentine box, curled lip as carriage wheels jostle mud through
Isle of Dogs.
Instead of a suicide there is a wedding - a union of opposites to create a new
day.
As the film closes the camera tracks at length across the remains of the
previous celebrations - ash, spilt drinks, flowers, bones, fruit and bread ...
The film ends with images depicting the monotony and closed-circuit lives of
those in the cells surrounding the concentric studio (Dante's plan of hell):
Images which now point to a different meaning for a film which has much to say
about the ending of this century and does so in a style which fuses a wide
range of atmospheres and emotions; comedy and darkness fusing into a baroque
and chaotic unity of present and past.
The Epilogue.- one way to the beginning.
###### phistory.htm ######
A Marey/Muybridge technical/machine examination of movement.
(Marey's apparatus of displacements of air within a cubic room, a cage of
measurements - cell structure reduction again - drive of the film being this
cell architecture which is being driven by the director - film-machine as
theological seeing in finest aspects all moments from all angles - drive
towards absolute measurement. Marey's analysis in a gridded space which could
be in the woodland studio and which suggests darker purposes of cell
measurement and of a cage of human possibilities - pornographic purpose, star
purpose, reducing funnel -investigator's discovery of this once all layers have
been stripped away - behind the masques etc. of speech and play-acting there is
this final purpose. Final purpose of the film in REDUCTION on stage - eye,
water droplet in blue light -blue bathroom scene - camera movement ever
inwards).
Autonomous camera moving forward on a track as if this is how it has always
been and will always be (that she shouldn't have been there/be there/ arrive
there. It's too far ahead).
Moving into skin pinkness.
Blinding the thick white carpet and (bending the lines of) a cream-coloured
telephone distorting through a fish-bowl.
edge of blue flesh-coloured telephone pure white of a deep carpet telephone
reddening ----(bleak in the head, down in the head, arms down in the bleak head
hang down) as the camera flies upward and away.
(Telephone reddening like a flash blush of skin felt on the inside reddening
huge poring her eyes reddening flash of legs and arms).
###### photel.htm ######
Link of the Centre to kitchen tears (story in bleached light at the centre's
kitchen table - story and remembrance of a kitchen suicide premonition told in
soft tones of light of Dorian Gray bleached soft light).
The torn Centre without enough heat or darkness in dry generation for the
mechanism of hot-house tears and violet decay. Hothouse tears which
mechanically flicker and drive the Chinese Restaurant- drive its abstract
stripes - its brightness of spinning red, blue and white - drive the chinese
restaurant as their future.
I will see her there he says. I will meet her there - orb of his/her tears
reflects Chinese restaurant - reflects planet with/without day. reflects the
autumn garden outside the room-cell Image flicker of autumn in her tears.
An event on a wooden floor (bounded - a wall-sky) flickers in a poor Victorian
parlour game of black and white (the small optical toy. the florentine box. the
hand withdraws nervously)
These flickerings - slow on and off of a light-bulb in the aquarium bar beneath
the white glazed rain washed windows of the twentieth floor and connected with
the events of the last twenty-four hours - events which began in the bar below
in the depth of blue neon - both moments connected simultaneously by the tongue
length unfurred of a long, white, geometric white leather sofa situated in that
room twenty floors above the streets turned in with two grey hands crossed so
low beneath.
###### plove.htm ######
"That evening, at eight thirty, exquisitely dressed and wearing a large
buttonhole of parma violets, Dorian Gray was ushered into Lady Narborough's
drawing room. (He felt keenly the terrible pleasure of a double life.)"
His love is a dark flower, destined for poison and decay. A violet which the
period drama actor discards in a broken, chewed styrofoam cup.
Violet pinned to the flower. A madcap costumed fellow. Grinding purple and
strapping on an absurd costume. He stands in the tower - naked.
Costumed fellow pinning (cursed yellow velvet) pinning the violet first in the
vomit-mist pins a white flower to the pavement seen next in darkness -- spotlit
decaying light itself and itself until small eye-light of inner-hothouse
flickers on the boards where she lies stretched out and observed atThe Centre
or hidden from all sight in the blank of a chinese restaurant - The blank of a
Chinese restaurant as an IMAGINED ROOM shut off from all the world by thick
walls of darkness (and by his face). She is alone there, waiting and never able
to be seen.
Decay/disease of light (as film - slow-drip-decreasing mechanism of air-light)
morning light - links to planets and times of year cut from decay-spotlit to
reverse-dew of the shower on-stage.
Celestial marriage.
###### pmurder.htm ######
The investigator discovers the director's body at the hotel in the early light
of morning and tips off the police but he drops the phone as he sees a clue
which puts him in the frame. He leaves quickly
Cuts to him drunk in the apartment. crawling to escape - passes out in shower
as tries to revive himself (dreams of her at the kitchen table in bright
colours). We see them enter the building - hired thugs drag him to the waiting
carriage - beat him awake. Not a journey to a police cell he imagines but to
the dock's cabaret - he is given pride of place at table next to the stage.
Champagne reeling he leers up at the dancing girls.
But the body the next day discovered by the police is that of actor (Dorian in
the period drama) - investigator is fitted up.
Body discovery - trick again of missing stomach and blood everywhere. A fake of
missing stomach.
A fake is shown by actor and director. Actor's body - as police discover it is
real (their simultaneous expiration).
The murder of director/actor - a murder coming out of cabaret/blackout nights -
a murder that he discovers and could have committed.
###### popium.htm ######
"Upon the wreck of a four-poster bedstead (the posts of which almost met
overhead and from which depended bundles of shapeless rags), upon a mattress
heaped with indescribable clothes, lay, sprawling, a lascar, dead-drunk with
opium; and at the foot of the bed a woman, with a little brass lamp among the
rags covering her, stirring the opium over a tiny flame - while mice gamboled
over the rags - her pets"
(A room off the multiple corridors leading off the main opium theatre)
Dividing the falling arcs of repetitious overplayed behaviour - a continuous
filmstrip overlaid on itself gives these curves which are compressed in the
tight structure of the opium cell manufactured for the purpose of this opium-
time overlay the room compresses (comprises) itself - self-generating and is
found empty (damp leaves, moss) after hundreds of years.
Opium dream of Sibyl leading to suicide.
###### pparanoia.htm ######
The trail has given up on him.
He hears nothing, sees nothing for days following the mystery. He sinks further
into dusty alcoholism and paranoia.
He mistakes the details of everyday life (chinese restaurant as mistake) but
draws back from following up these non-clues - a blank face of a passer-by in
the street.
The dying waitress sleeping on the rooftop above the city. He picks up a girl
on the street who resembles Anna - it could be her.
Waking up drunk in a cafe - slumped over the table.
The waitress is similar but only similar to Anna/Sibyl. He takes her home. She
is part of a further set-up and he is again taken (through the snow) to for the
ending.
###### ppast.htm ######
Reconstructions of WHAT HE REMEMBERS - moments (in their precision) which he
remembers -
false memories induced at the centre (deep inside orange glow of typewriter
keys) bring reconstructions which tie in and foresee the plot.
Re-enacting those moments in precise detail.
His reconstructions lead outwards from the closed room-cell of the centre, of
his padded-cell imagination, bleary, bloody mouthed being the only way out and
only dreamt of. Imaginings of a past / of the cinema / of the studio.
Remembrances of himself as a child at the foreststudio- high leather seats of
the limousine (high grey powder imagination / against high dark crumpled
leather breathing in / the limousine).
###### pperiod.htm ######
The investigator finds his place in the director's scheme through the cover of
the period drama being shot in London. A catch/snare at the beginning being on
the streets of east london . Investigator has been led there by photograph of
star of the film he had seen during one of his jobs. He develops an obsession
with her (he loses work - dropped from the case). He finds out about the film
being shot with her - that she seems to be the character.
Dreams of her falling through modern traffic but her reality is a retreat to a
caravan on a beach. He infiltrates the film-set, jostling the drunken, homeless
extras. The next series of clues lead him to empty opium theatre ( modern day)
He follows the director on set but it seems so ordinary. He is ejected from the
set.
(He feels set-up. the past un-nervingly seems to co-exist and overlay the
present. Two maps of London overlay each other - a map of the past and a map of
the future but amongst these frozen clues and inventions he cannot find the
present map of the city).
The fine dusty detail of the carefully preserved opium den and its central
theatre (oil-smudged tin-moons facing gas lamps surround the room), the
abandoned forest studio, all seem concocted (fine preserved piss and moss, damp
faces) and stage-managed purely to lead him on further. But it is only by
following these clues that he can find out where it is he is being led.
###### pphoto.htm ######
Fake death scenario
A series of murders is signalled by photographs received by the organisation -
clues beginning with the reception of photograph of a body in location,
position etc of CHATTERTON portrait by Wallis. Fake/real murders stage-managed.
A search in possible 'real locations' gives nothing. Finale in abandoned
studio. The poses are updated and staged (Chatterton is give-away clue to the
whole process) - as if it could be a real modern location.
Photos of the past and the future
The Picture of Dorian Gray is like a series of still pictures in its
simplicity. Faceless tableau vivants of stuffed suits and costume watchingher
act - her performance on the cold stage - another place. Endless performance
watched by empty costumes stuffed in changing blurred flat photos. They are
only there as a photograph. These tableau-vivants photos = Bunuel - an
imaginary (Belle du Jour) (stills with action - living space elsewhere).
These picture-book stills of the simple language of Dorian Gray are related to
the photos received by the investigator - related by a blank fitted by his own
movements.
Forest studio blanking out in his mind upturned in the shower close blue tiles
frost or steam in the eyes of ceramic touch. These simple language stills could
be listed - a list spoken and cutting in on the tape-recording in the hotel
room.
Stills staged forest studio photographs as of fake murders.
Centre of the cubes - the forest studio WHICH DOES NOT EXIST.
Forest studio as a cube which flips over.
###### ppostscript.htm ######
Postscript of early 70s rockstar portrait - hiding in a Moroccan tower with
candles and white glass - broken white earthenware ornament - stares down to it
at his feet.
Long white gown. drugged and bloated.
Psychedelic purples and hard colours - depth of eyes and flesh (he stares down
to the broken white - bloated staring and trembling - close to cross the other
side of his eyes - staring hard out nothing back to itself bloated flesh -
watery eyes to cross the white hard walls in plaster of the other side of his
eyes to the start of the film in stopped voiceover broken venetian glass - grey
corridor stopping just as we see it - grey mirrored corridor on the return from
Covent garden).
Depth of eyes and flesh hyper-real alternate with softer, whiter delicate
rendering of reality receding.
White rock-star in white Moroccan tower
(horror film references to the desert - an uncovering of ancient remains and
their omens, but their colours being of a thoroughly modern cocaine ruff
fanning and stretching his neck emerging from the purple ruff of a dying and
sopping dark violet.
White high light purple high light lying white robes vertigo at the top of the
staircase drug vision thoroughly modern unearthing of an omen.
(a party hat dug out in all seriousness during the excavations - the desert as
a setting for the investigator.)
Bluebeard's castle in a white Moroccan tower all his chances have been used up
alchemical magic dried up, blurring his mind in fetid, purple visions all the
forces of his mind astral stretched out arms are closing in to a mundane trial
and forgiveness of modernity there never was a place of blue neon rain-washed
streets - of aquarium daggers flat-backed it's still yet to happen.
It hasn't happened yet.
Moroccan Prologue
All flashbacks as from the Moroccan tower - the desert. Reconstruction in the
tower or desert with a dismal portrait.
Dismal and poverty-stricken recreations of butler scenes - by wrong characters
in Morocco. It is all wrong - poor rendition of updated Dorian Gray. The result
is the opening of the Florentine box.
And it is here in these poor reconstructions that the investigator IS the
director IS Dorian Gray. The same man with open arms and open head.
Open vegetable head in the dead (black) stars
His music is everywhere
Open vegetable head held in by hard white hands (and) poor purple of a
fascination with jewels
fascination struggled over as being outside his vegetable head
Someone else naked to an hallucination within his mind changing over with a
torture turning inside the portrait dull behind a webbed screen
he is Dorian Gray and the director of his dulled wanderings and he has a
tranquilised night and she has a tranquillised morning (in pain of what will
come) and that is how it was and should be and will always be in pain of what
will come and she isn't there there where she walks in the room coming too soon
and indefinite cancelling the morning far from him in another world far from
him who holds the night, and she the morning and their difference expressed in
a blinding pour of purpled wines
the same turning blind the same putting down the same turning round and he
makes the music of the city the same and turns around to see her enter the room
never ahead by so much time that he doesn't know she who is coming in under the
pain of the ahead.
Beginning a story in Moroccan tower shuffled over in the tower arms white and
stretched out walls close and hard white concrete. The story of Dorian Gray is
sketched out. Remembrances in flashback which finally stop at the suicide yet
to come - we know what the plot is to come - and of the portrait decayed facing
and changing. Moroccan tower prologue and story. A dark story told.
descending in dark in hands over head purple darkness told in descending hands
raised. Prologue bleeds into white becomes whatever space and other beginnings
told of All beginnings in the same space in the same head and heat.
###### ppsycho.htm ######
Medicinal, psychiatric justification for the scenes (a new turn - ' a
controlled pathway through madness. Guiding them along the path we have
ourselves travelled').
Rest-home, psychiatric experiment RD Laing mid sixties in a large Victorian
house and who is involved in that Dorian Gray experiment in resuscitation.
Fires in the autumn psychedelic garden. hats. pummeled black fedora. Sitting in
the kitchen and looking into the garden. Looking out in pain. Light in the air.
Heavy light and minutes go by. the camera searching grey. Psycho-drama of those
involved to act out the necessary scenes. Her alone in the dark. The scene is
caught too late, too far ahead as the lights are almost come down. Her white,
sweated made-up face disappearing and the air is now too heavy with moisture.
like going into a blackened room you can't see its edges. Edges of the past, of
how long ago that lit shot was taken. Now, staring out of the window in the
kitchen, weighed down by the scenery and aching minutes weighed down and fixed
to a life which has never happened, an abortion of years past and years ahead
guessed from the furnishings and a look of despair, long hair shading his face,
internal autumn shade he turns away and hides away, stabbing through his past -
a stick in the garden fire swirling trails of ashes raising. Burnt schoolbooks
of a dead child.
Autumn intimacy of one person. culled eyes in autumn intimacy of only one
person and the other facing is missing and is imagined as a third person
anytime. Someone else there with the two or three of them (then a fourth
person). someone else there who could be forgotten or left behind, an absent
friend who is oneself watching in hallucination and in darkness. bed darkness
during the daylight hours or close darkness.
night hothouse
Victorian flicker parlour game optical trick flicker
Victorian flicker between spotlight black night hothouse in which her sweat,
evaporating her is no different from tears shed evaporating her -
flicker between white and pink Victorian flicker between spotlit black night
hothouse atmosphere picture indoors (rubber plant picture indoors) and the
Victorian house the autumn garden communal household of consumed vegetative
years and compost heap heavy weight marshes. In the rooms of the Victorian
house - heavy, dusked with furniture bought cheap - chairs all different, torn
and shaded. Burn of natural light glazing the camera and hiding the soft scene
of light on bowed head, hair. Blazing natural white light from the kitchen
window - ashes. (bearded head in hands, stiff arms - ken loach film) Height of
that room and dusky, shaded atmosphere. Window bursts of bleached, glazed
light.
Psychodrama opening from a script discharging from a script in clouds of
leaving camera haze upwards camera discharging pus take-off from a closed space
open wood uprights of a set wood and cloth studio in tatters leaving below in
the haze as the script spirals OUTWARDS from what was written, the camera
following up (a crane) into unheard of directions (as the set twists on its
circular axis)
Space giving events of that room (through past) - compressed to now-time
succession of rooms giving events - re-ordering.
(That in a description one is trying to get close to something - overpowering
with words in a vague attempt to reach atmosphere - reach through the barrier
of the room and that this is what the investigator is trying himself to do.)
Flicker of hand-painted film - pink-white and the height of the ceiling. Haze-
dusk leaving behind (for the height of the red-velvet ceiling) leaving behind
orange plastic leatherette chairs. Spiralling height of the ceiling and a
glamourous haze.
The Centre's room of psychodrama is the red velvet room.
Orange plastic torn chairs match the dying crumpled orange sheets. Stain of
dying autumn light (cuts out his eyes as it cuts out the square attic window in
a glaze of heavy lidded light meaning that it turns his eyes inwards in
blackout turning him into being seen by the third person there, himself in
fever on the dying crumpled sheets). Barely seen photographically. Optical toy
turns. Pink haze of the beach and her leg exposed against the sea's horizon.
vast horizon.
###### psilentfilm.htm ######
With what seems like a stroke of genius the detectiveuncovers the studio in the
woods - identifies it as that in silent films. A studio which to his suspicious
mind has a darker intent.
We see the camera moving ever closer to her in silvery black and white. Ever
closer to the kitchen table at which she sits, closer across the grey floor of
the squalid kitchen; we feel that we are moving closer to her desired suicide
which should be filmed in white, very white and clear. All her films are an
approach to a suicide which never happens (her escape from a day, a script,
from a dawn which is wakened to).
###### pstudio.htm ######
Action abstracted towards all taking place in city-at-night studio which could
be contained tardis-like in studio-black cubic umbrella black mariah studio in
the wasteland and marshes - the same studio now transformed which the
investigator has visited - cubic rooms expanding in fast motion from cubic
basis studio.
Abstraction of the above ideas - visual effects of darkness - forms outwards -
contained in the studio and grasped as one by whosoever lying down and not
moving in opium closed insides.
A florentine box set in the wooodland. Light through its shuttered centre.
Children play against a painted woodland backdrop. woodland door. Miniature
studio in the florentine box.
Always a repetitious arrival at the studio to complete/film the suicide scene.
She waits outside the studio, plays it all out in the studio now empty
switching on all the lights.
###### psuicide.htm ######
Her faked death/suicide never reached like the end of the film always delayed
by the star's white empty hands never reached.
a white room never reached
replayed suicide on the forest studio wallpaper
replaying rewinds of impending doom of actress' suicide
close-up replaying of pills/poison of actress/Anna/SibylVane
vomits clouds of white
shrill small sky lit above
small like a window or picture
the only glow of the scene.
(simultaneous in pills/ past-future scene)
She vomits her white poisons in the sky
vomits her white flowers across the yellowed script which writes (for her
poorly) that it is happening amongst yellow cuttings announcing her death.
it happens both too soon and too late.
The book/script cast down amongst the powders and mirrors of the lying dressing
room.
The book script now a cast shadow only for the yellowing candles burning down.
vomits her poison of white flowers over the globe of his steely and solid
breath.
###### ptheatre.htm ######
Career of Anna begins in opium den theatre.
Glitter and dirt of a theatre at the centre of a complex of opium dens in
Docklands mud and darkness.
An existential cabaret plays itself out ... forever. (but) The film ends
(unreeling in a Chinese club, falling on the floor stained with red sauce -
grit on the lino - close carpetted walls).
Short film (also see song notes/ Jan99 notebook)
Crossroads and recreation
Self-development of inner rain-curves of madness ---
// Inner organic curves of madness lit artistically against the bland back-drop of a rain-soaked street
Inorganic features of a flat street-scene imitating inside depression
An hypothesis excluding the reality of the outside world.
Chemical hypothesis of schizophrenia against itself
Bland abstract backdrop gives a bare geometry of the average street
Fair light and the intersection of two roads. A wide area at the centre controlled by traffic lights.
The street is empty and the bus has stopped just before the intersection. The passengers are pressed to the windows, looking out individually at the thin rain falling now.
For short film - recreation of the above. Rain falling hiding from it under a group of trees at the edge of the marsh. Remains in washed grey stone of mills and reservoir. Thin grass sky. Choosing a moment of filming and the film existing on only one level which isn't fictional or is rather fictional in it being the sole level of an imagined character's filmic vision. Remaining on one level which doesn't reveal. Story-film of an obsession. (falling rain)
Disconnected scenes following alchemy illustrations. Bus-stop experimental repetitive film -he watches the cross-roads all day, trying to cover all angles on a scene which seems to repeat itself at definite intervals. The arrival of the bus before the crossroads. he waits in the car amongst pans and gaslamps and wrappers for the correct light and weather conditions to appear alongside the arrival of the event. (bus-stop - documents of his filming)
Backdrops - Event spaces. open and large - mapped out by minimal geometry of dots and lines. The harsh overlaid lines/ repeated colours of figures, gut symmetry
Continuous arc of movement - overlaying film-strips.
Bus stop - crossroads episode poetic - an ordinary intersection of roads becomes outside manifestation of madness. An ordinary intersection so called broken down to colours, light on rain-soaked pavement - black sky - traffic lights remembered. remembered distant roads.
An analysed event remembered (itself the place of remembrance - event=remembering and the place of this being the autumn garden with a bonfire - torn, stained denim and checked shirt flailing against the ash dust and dense smoke)
Repeating that very same moment throughout the film
in intense moment colour
- overlaying of outside madness fits with overlaying of maps.
Inner rain curves of madness (diagrams - falling arcs of repetitious overplayed behaviour.
Diagrams of the room / of the street past and present / of light changes / of cubic rooms
and zooming in (grid-room in the studio and its hidden purpose - to record these diagrams in the reflected glow of the brass bedstead measuring vibrations)
Blank space flicker between all coloured (hand-coloured) cubic rooms and their action.
Intersection of crossroads as centre of constellation of simultaneous 4 phases of the song blossoming out from the central word which is the crossroads (see latest green notebook).
Song
Based on versions of song as written (repetition and changing - overlaid tapes (of cut-in soundtrack elements) against visual action.
the song - its three movements (room, The Centre, beach)
the song (from large page notes)
(1) (trapped in a room)
Beached bird of paradise in a tight room
She closes herself as a room. Barrier of and to time and space
She crosses over herself. Her movements cross over each other and weave the room into a tight spiral corkscrew of hair.
'She walks into a place she has yet to come to
a story yet to come to. She walks in too soon and kills the plot (the film) (the room she walks in - his office)
silent film titles submerged in a slow dance.
fast forward slow decay daylight morning fading over.
(2) planet - autumn - generation - INSIDE MADNESS (closed world and individual unfortunately - inside madness being that which is seen and told and also cannot be - the mystery seen and sold
inside madness kept inside for the benefits of a contained world on whose axis it turns either/or in that inside madness is seen and told and also cannot be at the same time. (the Centre passage of many years - psychodrama)
Fixable - filmable.
Process/alchemy in autumn garden.
image flicker to (3) - flicker between spotlit household night and hot-house sweat. her tears.
[Link of The Centre to kitchen tears (story in bleached light at the centre's kitchen table - story and remembrance of a kitchen suicide premonition told in soft tones of light of PicDg- bleached soft light. the torn Centre without enough heat or darkness in dry generation for the mechanism of hot-house tears and violet decay)
Link of The Centre to hothouse tears which mechanically flicker and drive the Chinese Restaurant - drive its abstract stripes - its brightness of spinning red, blue and white - drive the chinese restaurant as their future (I will see her there he says. I will meet her there - orb of his/her tears reflects Chinese restaurant - reflects planet with/without day. reflects the autumn garden outside the room-cell
Image flicker of autumn in her tears
An event on a wooden floor (bounded - a wall-sky)
flickers in a poor Victorian parlour game of black and white (the small optical toy. the florentine box. the hand withdraws nervously)]
(3) A sultry nude hallucination on the beach - the colours
vomit of/from alcohol sky (caravan on the beach)
from tranquilised bright morning and she is seen in bed (replacing Dorian gray - male-female on the bed - episode of the hermaphrodite carries off from here - expands
Logical, alchemical story-line of an above and below of time planets and the simultaneous
(4) (From tranquilised bright morning)
her vomit is a new night mist of heaven and hell
new night autumn
she is lit in the blackness of the beach by this white haze.
as he stands with arms outstretched at the top of a white stone staircase in morocco - epilogue or prologue
(flicker on and off heaven and hell. Flicker on and off of tranquilised eternal. These flickerings - slow on and off of a light-bulb in the aquarium bar beneath the white glazed rain washed windows of the twentieth floor and connected with the events of the last twenty-four hours - events which began in the bar below in the depth of blue neon - both moments connected simultaneously by the tongue length unfurred of a long, white, geometric white leather sofa situated in that room twenty floors above the streets turned in with two grey hands crossed so low beneath (link of these events and what these events are))
She vomits her white poisons in the sky
vomits her white flowers across the yellowed script which writes (for her poorly) that it is happening amongst yellow cuttings announcing her death
it happens both too soon and too late. the book/script cast down amongst the powders and mirrors of the lying dressing room. the book script now a cast shadow only for the yellowing candles burning down.
vomits her poison of white flowers
over the globe of his steely and solid breath.
Flicker in open-gap - rising new spaces repeated event spaces.
cell(1) ---- interior of body generation(2) ---- vomit of madness and of closed madness (tranquilised white - linked to the twentieth floor event and the bar event and the twentyfour hour on the streets event)(3) ---- new night sky of heaven and hell in the open(4)
A story, a story told in images reverse or forwards.
Images as a film of this story.of the room not yet reached.
Film story of the character - Investigator - his film also - a document. processing film from the back of his car in a tin tank. To write script for such a document. back and forth
concepts of themselves (filmic - words on the page subject to a harsh light white-out) and overlay of alchemical concepts and sequence.
Time-line ---- cell living cell/human.animal.plant cell structures.
of treatment/order eye cell collapsed
as against Song which is
arbitrary order - to pull both together connecting song (short film) and full film script.
For example - busstop reconstructions as connected to actress falling through modern traffic
Modern day images covered in grey soot dust of past
filtered grey of turning, twisting tight backdrop of East end
of grey soot dust re-ascending
(like dew) from cabaret stage as the camera backs out quickly.
Grey corridor / mist-quality forming objects descending and reascending
forest-heads truning
the trees are tiny
new night mist
grey soot dust of the chimney sweep ceremonies
blacking his face in the broken mirror - and attaching silver knots of ribbon to his scrubby, wiry short hair.
SONG FILM
(1) (1)
Cell. the room she walks in. Detective story (false films etc)
City.
(2) (2)
Interior of body plant The Centre
generation linked to seasons
kneeling in the ashes crying
(3) (3)
Vomit of madness. Her suicide Cabaret nights
as escape of boundary of
cube. Expansion thus of closed
madness to:
(4) (4)
New night sky of heaven and City at Night = expansion - flicker on and off
hell in the open of night sky (final mechanism)
living cells flicker on and off - any colour and
size blue of night sky and contraction but the
silence and emptiness of the blank frame between
each flicker of a changing room water-shower ceramic
light blue or dark blue of night sky above down the
road modernist living cells.
blank-film generation
blank film projection room.
PROCESS:
(isolated from 20 odd illustrations of Mylan's Philosophia Reformata)
a) Sol and Luna enter the bath where they are to be dissolved.
b) They are married. The black birds attacking the sun and moon show the blackening and putrefaction of the bodies.
c) Bodies putrifying in the tomb of glass.
d) Their souls depart. Volatilisation begins (2 angels rising upwards).
e) Sol and Luna become one hermaphrodite body which is watered by the dew of heaven (rains down from clouds above)
f) They awake in a bedchamber. A crow at the door ie. the blackened mass becomes fully volatile.
g) the white stone - the hermaphrodite in the landscape.
Using the simplicity of alchemical drawings - brightness of colour and lack of extraneous material in the event (studio space)
Hallucinatory painted or modified landscapes but not seen as such.
There is no fixed space for the film (despite cubic architecture)
Condensing room of alchemical process. simultaneous of violet's decay
(colours - white flowers of overdose vomit - purple dress of Sybil. downward eyes)
Colour contained by outlines - hard colours edge hard against hard black darkness without grain or atmosphere, without place.
living cells flicker on and off - any colour and size blue of night sky and contraction but the silence and emptiness of the blank frame between each flicker of a changing room water-shower ceramic light blue or dark blue of night sky above down the road modernist living cells. White flowers hanging like moons in the smallness of a constricting black room. Rooms are repeated - actions repeated in changing colours hand-made with a changing space or interval of growing autumn blankness between each frame - those blank frames becoming flicker on and off of new night mist of heaven and hell - the last phase of the song.
Transitions: flicker/ tear-drop-globe/ dripped water globe/ dull light - dripping light.
Technical
Translucent hand colours for film - rust, organic colours - berries, flowers and grass
copper-green sediment in electrolysis
wine stains
chalk, clay, soot.
Song words = silent film titles . somehow link to constellated blossoming of words in time and in simultaneity - chopped 4 phases of the song.
Tracking mechanism - camera on trolley always moving towards - the stoppage is the next picture-element in stopped silent-film time (long takes - pictures of clues, words etc. little movement)
Chemical film - tracking. miniature sets. overlapping maps and London streets
Episodes and incidents within an alchemical bath
Nude descending - overlapping of motion - flickering text of title cards
Film machine apparatus like a miniature theatre with its connection to outside - mirrors of optical toy - projector
Toy theatre of cubic rooms he pushes away models and optical toys for film.
Optical/ hand-coloured-tinted/ chemistry
alchemy/ backdrop/ model/ hand-drawn titles.
A film barely seen - based on song - spoken/sung in blocked communication mirroring harsh onward-ever-forward motion of the camera into a scene
choked communication - hard soundtrack. veiled chemical film - veils of geometric circling colour. Circular diagrams of coloured dots on the film surface.
Light movement over mechanical bodies - slipped bodies reversed.
Phlegm of vomitted flowers on harsh 60s patterns in mirror facing her.
Episodes
a) bus crossroads - crossing rooms open light she walks in. (analysis - filming every possible moment radiating out from basic cube at very centre of the crossroads).
b) a ritual in the marshes - out of the back of a car hand-painted blue film. Studio in the wasteland - tin-can studio - trolley and lights, chrome bedstead. (interior being in clapton)
(ritual connected to a film-machine)
c) chimney sweep festival - blackened face of the investigator
d) she walks in and expansion against silence of chinese restaurant-twentieth floor linkage.
e) word-picture episodes elements - clues across light-mirrorball-pattern-cubes of the film squared/cubed.
f) time-lapse dawn.
Locations: the room - miniature/ the centre / marshland-built studio cube/ beach with white flowers filling the air/ chinese restaurant/ crossroads.
synopsis - document of a contained world/outside world
and dispersion.
night mist
reduced city.
alcohol sky as chemical sky
tranquilised morning
A hazy world inhabited by INV - these photographs arrive - photos of the past and the future - plot combined with idea that PICDG is like a series of still pictures in its simplicity. faceless tableau vivants of stuffed suits and costume watching her act - her performance on the cold stage - another place. Endless performance watched by empty costumes stuffed in changing blurred flat photos. They are only there as a photograph. these tableau-vivants photos = Bunuel - an imaginary (Belle du Jour).
(stills with action - living space elsewhere)
These picture-book stills of simple language of PIc DG are related to photos received by INV. related by a blank fitted by his own movements. forest studio blanking out in his mind upturned in the shower close blue tiles frost or steam in the eyes of ceramic touch.
these simple language stills could be listed (like that in city red nights) - a list spoken and cutting in on the tape-recording in the hotel room.
stills staged forest studio photographs as of fake murders.
centre of the cubes - the forest studio WHICH DOES NOT EXIST.
forest studio as a cube which flips over.
a glass/fluid chemical mechanism.
1) The investigator moves through the air under hours of heavy night.Rain close in and chopped. The carriage arrives at the walls of the limousine - high powder imagination against dark crumpled leather breathing in and is imagined as a third person anytime. Someone else there who could be forgotten or left behind, an absent friend who is oneself watching in hallucination and in darkness. Bed darkness during the daylight hours or close darkness night hothouse in which her sweat evaporating her is no different from tears shed evaporating her - flicker between spotlight black night
hothouse victorian flicker parlour game optical trick flicker Victorian flicker between spotlight black night hothouse victorian flicker parlour game optical trick flicker Victorian flicker between white and pinks she vomits her white flowers over the globe of a tear reflecting the outsides. Mop and bucket in the misty studio recreation of a hell. She vomits her clouds of white.
The third person as important idea.(Scene around the fire on the beach - two people close - connects to autumn intimacy of the closed Centre - the closed room of stopped time, of no further time, snug).
(The street is empty and the autumn intimacy of one person culled
eyes in autumn intimacy of one person culled eyes in autumn
intimacy of one person culled eyes in autumn intimacy of only
one person culled eyes in autumn intimacy of only one person
culled eyes in autumn intimacy of one person and the other
side (own fade-through of the outside world.The book script now a cast shadow only for the yellowing candles burning down.))
Contained autumn room - forest wallpaper and the autumn intimacy of one person
culled eyes in autumn intimacy of only one person and the other facing is missing (a child he is outside the forest studio - high leather seats of the limousine - high powder imagination against dark crumpled leather breathing in) and is imagined as a third person anytime. Someone else there with the two of them. Someone else there who could be forgotten or left behind, an absent firend who is oneself watching in hallucination and in darkness. bed darkness during the daylight hours or close darkness
night hothouse
victorian flicker parlour game
optical trick flicker
Victorian flicker between spotlight black night hothouse - in which her sweat evaporating her is no different from tears shed
evaporating her - flicker between white and pinks
She vomits her white poisons in the sky
vomits her white flowers across the yellowed script which writes for her poorly that it is happening amongst yellow cuttings announcing her death.
It happens both too soon and too late. The book/script cast down amongst the powders and mirrors of the lying dressing room. The script now a cast shadow only for the yellowing candles burning down.
She vomits her poison of white flowers
across the globe of her steely and solid breath
Barrier of the room moving closer in to a globe of a tear reflecting the outsides. Mop and bucket in the powdered mirror brittle - teardrop of many possible stories.
Mocked suicide cut short and stopped in the bathroom or shower (blue I see myself there and thin and dirty)
Ending in a finality that must yet go on another day
a necessary end in intoxication
A violence stopping at the walls of the barrier of the white day.
The above suggesting the entire film in compression - light frame/mirror turn-frame dropped, limp.
Pseudo documentary regarding the CENTRE
- internment and re-weaving of clues following investigator bus-stop INVESTIGATION (space -devices, clues, model reconstruction, maps)
downturn leading to internment in the Centre (intersection of crossroads as central place = cubic room)
Crossroads filming day-to-day - rain and weather conditions.
Short film expanding to film-machine (via appparatus) - as basic generic stock
[apparatus and devices: stroboscopic / chemical / miniatures / time-lapse / optical toys:
phenakistoscope(?) / zoetrope (with mirrors) / camera and projector of home-made plates.]
Filmic reality transformed - CHEMICAL SKY / what is seen when filming reverting on itself
Film script merges C4 script with this idea of transformation = the song.
Transformation in film (silver/alchemical/grain/fluid) = transformation in song on a circuit
Machinery of song/script achieved in film --- translation of scipt to a machine.
Model of 'Bride stripped bare ...'
[generic material for category-entry into machine --- machine of glass/fluid/chemistry]
Successive retreatments of crossroads sky. Crossroads sky contained in tin-can in the yard (tin of chemistry).
History of cinema in machinery at the crossroads (or in the yard) - starting off with the spinning cogs of Faraday - history of cinema displaced and as a story of his madness (his madness being the disturbance of the categories).
Song (cycle) and script linked - how? [song cycle = cell --to-- body generation/autumn --to-- as past of closed madness --to-- vomit of madness --to-- new night sky of heaven and hell in the open] = [return choke mechanism]
Return choke mechanism (how relates to interior madness - white clouds (4) return to choke WORDS (her words spoken-coughed) causing the vomit from tight stopped, choked interior madness - its expression causing the vomitting is of interiority and closeness/autumn - trees choked) --- mechanism repeats itself - choke to vomit to choke across words and tight cell of interior madness
[return choke mechanism(overlaid on cubes of all work as process)] = [0f picture stills] = [Song mechanism is the lapsed return of choked communication (expressed in stopped forward motion of camera) (expressed in the touch of inside madness) (in the opium den mirror): made manifest in white vomit which is another picture held in the frame of the sky's light]
Absolute centre of crossroads = that barrier/return of choked communication (the crossroads under a white vomitted sky) = simultaneous phases of the song.
Circular nature of the song mapped onto a plot which is circular (negative and positive) = circle of plot of her suicide.
too soon/too late
never/always reached
= in space of central crossroads]
[choke = self-consciousness]
[return of night vomit-clouds - white above the small scarp of the pink beach - painted toenails on the moonlit sand - a pink glow in the deep - in a circular song - those white clouds/flowers return as she faces herself in the mirror in the theatre - all contained in that space of her thoughts - return to choke her words - to white out the page of reflecting words as she faces white - as she faces only blankness in a stoppage of time - choking her words in a blink of her eye in the make-up mirror - scene of time-lapse bedside table - pages growing yellower]
note [new night mist(vomitted outside inexistent) not= city-at-night industry (world-place).
Visual clues (see also C4 script):
1) Fair light and the intersection of two roads. A wide area at the centre controlled by traffic lights.
2) The street is empty and the bus has stopped just before the intersection. The passengers are pressed to the windows, looking out individually at the thin rain falling now.
3) Rain falling hiding from it under a group of trees at the edge of the marsh. Remains in washed grey stone of mills and reservoir. Thin grass sky.
4) He watches the cross-roads all day, trying to cover all angles on a scene which seems to repeat itself at definite intervals. The arrival of the bus before the crossroads. He waits in the car amongst pans and gaslamps and wrappers for the correct light and weather conditions to appear alongside the arrival of the event. (bus-stop - documents of his filming)
5) The autumn garden with a bonfire - torn, stained denim and checked shirt flailing against the ash dust and dense smoke. Another time - equivalence of the person in the machine - in the room - in the Centre (autumn trees cut and given by the overalid lines in primary colours - spark/smoke/rain - in C4 script rain at crossroads and tears in opium theatre).
6)
a) bus crossroads - crossing rooms open light she walks in. (analysis - filming every possible moment radiating out from basic cube at very centre of the crossroads).
b) a ritual in the marshes - out of the back of a car hand-painted blue film. Studio in the wasteland - tin-can studio - trolley and lights, chrome bedstead. (interior being in clapton)
(ritual connected to a film-machine)
c) chimney sweep festival - blackened face of the investigator
d) she walks in and expansion against silence of chinese restaurant-twentieth floor linkage.
e) word-picture episodes elements - clues across light-mirrorball-pattern-cubes of the film squared/cubed.
f) time-lapse dawn.
From current notebook:
Silent film pictures still words
Camera moving in to stop at the barrier of the crossroads
different approaches to a crossroads meeting:
on foot - messenger or official in fur coat.
by bus - leaving/approaching by 4 directions
by car
location of Centre in abandoned 60s block.
Cornish coast - track into tent on beach. camera low across the sands
her vomit
the purple umbrella his window over the city - back to the camera
mirrorball
track into car at crossroads
bus back and forth (observed and blossoming)
Arranging song around central point of crossroads - indefinible minute space uncrossed of that central point = [choke/barrier]
Choke of crossroads centre point is the disturbance of categories (one which is called 'seeing onself' - self-observation or self-consciousness of one's own formation of categories) by interior madness. Interior/exterior categories as major point.
Expand crossroads idea from choke mechanism of song.
crossroads - points in a constellation.
(From artificial paradises full script and all recent typed notes)
See also Impossible film (category/process ideas using decision-time of orbits - also important is idea linking orbital nature to camera on circular tracks in outside world - all links AI basic object recognition).
text generation-organisation of modules. Film-machine as a fiction (possibly) connected also to the Centre (investigative (detective), psychoanalytical (and also bearing the cold air of a day spent clearing the leaves for a bonfire by the fallen glasshouse), concentric (link cubic rooms here) and also Centre is lodging place of film-machine -
MYSTERY of whether the film-machine exists at all or whether it is (within this story) just an ill-conceived possibility made evident with poor technology of spinning disks and film-loop - whether it is just a mock-up (like the cardboard glitter of an opium den theatre) invested with false powers.
It is thus a fiction within a fiction but all the same the poetic expression of a modular ongoing script and its possibilities - and expression also of a lack of an outside to a script which can reduce itself as the world to a grain of sand, to a room with all the possibilities of its future absolute diversity expressed by a work of art - that possible future diversity expressed as the coming-forth in fast time of the ongoing script as a chain of absolute fixed words. on that border of reduction and coming forth (as a device - just as the smallest element of the script becomes the overarching principle).
To isolate rules and devices from below notes. (** that the device or mechanism can be a written text which writes in its own procedures, devices but these are not to be seen, explained but there in what seems like the reconfiguring of the text - writing as if to be reconfigured eternally - or writing so that it can be in its sense reconfigured eternally - the mechanism can be like the spaces in the text of Mallarme'. writing open to all its variants which are not random but described in the text - rules contained in the poetry of the writing and in its repetitions - idea).
1) Planet rotational mechanism -
A planetarium on the dirty ceiling of the opium den (a mirror on the ceiling - a projection of light). ceiling open to the sky.
Reflecting in hard lines. giving glass - glass lines of a mirror covering the ceiling. A planetarium open to the sky showing the rotational mechanism governing the direction of the film. ordering the director's scenes. Small points of projected light (points of light of selection of planetarium-led scenes and points of light in the mirror of a scene - smudged and hand-coloured with Rorschach red bodily colour). reflecting the dirty mattress, red cushions and his unconscious clothed body - reflected on the ceiling. Zooming into that reflection as the camera rotates twisting the bed into a spiral. The mirror on the ceiling hard and silvered contrasting with the smudged softness of the room in winter smudged by the soot of oil lamps against the wavering silver of their reflecting backs lining the walls of the room and giving points of light. A mirror, hard, silvered and elegant transporting the poverty of the cloudy winter room (mist of breath and fog yellow silvered the room) towards luxury in smudged deep reds. In soft focus obscuring the harsh twisting, spiralling lines of the mirror - gas lights flaring into lines of colour (just like that day in the churchyard) - smudging the room geometrically in the soft focus of the mirror or lens as he twists his face towards us grimacing in tunnel agony (of a description of light, of the tightest place - the room's ceiling open, the walls red and tight). Zooming into reflection as he twists on the bed becoming night-sky open roof, night sky outside the closed room.
Director's rewind mechanism
in the cold glass house
in the modernist house in the country
gothic mansion of revealed red brick-work under glass.
Director's rewind mechanism. Spools lighting the bright house under glass. Glass-eye-mechanism of the house.
2) City of Red Nights - structure of cross-cutting and time-movement opening up from tape-recordings of sounds in bathroom and reading from magus (the investigator's way of opening the film for his own dull, sordid life) - opening up film to time - movements the novel and also film can have multiple beginnings but marked by the chapter - recording as device to split time.
Worldwide machine - film-machine, reality machine.
(description of a process). To use REWIND DEVICE as a section of the film (a cycle of repetition and change explosively going back to some extent over the film) or to use it as a device through the film in concurrence with rebeginnings (rebeginnings exploded by the rewind going back before the beginning always). Excessive rewind and change in minor details of an opening butler awakening DG scene haunted by the entry of the modern day and revealing eventually the director rewind mechanism.
And that rewind - a thin-ness of film-colour (autumnal thin-ness of colour to be looked into and through) which comes to be tinted in the explosive speed of rewind.
Movement of speed increasing - curl of film rewind shuttling back and hitting a forwards. Going faster at the end of a sequence to suddenly jump into a rewind which slows suddenly and begins again, begins again interrupted by another possibility - another detail to expand from and again and again the same movement, movement of autumn.
As in movement of planets rotating (and deciding the MECHANISM of the film) - planet rotational mechanism(1) - a planetarium on the dirty ceiling of the opium den. open to the skies.
3) cubic room organising principle which is a MACHINE - machine link to repetitive camera movements.
4) A FILM FACTORY of poverty, dirt insides. Generic scenes chequerboarded (project of THE CENTRE - organistion as we see it which INV comes up against - HE IS ON THE OUTSIDE OF THE ORGANISATION (as in The Castle). A rich, luxurious film factory in a poor world.
5) Simultaneous scenes from multiple viewpoints. As a device which absorbs filmicly reality in its present moment choosing to replay at that moment - moment of the star's action seen and replayed or (having stored that reality) can rewind to a moment, replay a moment seconds or hours before - the whole thing operating as a loop or as Burroughs recording seeing what is recorded now (being recorded now) and being able to simultaneously see/hear where it is cutting in in a replaying. the forwards and backwards of the tape-recorder with the now of its all-seeing head.
6) (principle of connectivity - branching according to principle of simultaneity - that for the system of the film one cannot take an outside procedure, alien procedure to organise it but use itself as organising principle - principle of its own denouement in simuiltaneity. branching of scenes within the simultaneous)
that the simultaneous playing of scenes A and B result in scene C. (cell division, multiplication).
In simultaneous scenes cross-cut then expansion A&B to C.
7)Idea of which category is uppermost in the chequerboard is important eg. as to whether INV is inside or outside dir 'film-in-film' at any point as to whether there is an explanation - description or a fathomless scene (devices for a mechanical decision on this).
A planetary MECHANISM for decision making across the chequerboard logic(?)
(mechanism merging with now-film-mechanism - director catching himself as DG, catching himself as a theatrical rembrandt portrait receding in the mirror, receding in past darkness and tears)
Or does cubic rooms architecture give that logic as one would follow and recede in its changing space unavoidably.
cabaret device
Exposure device - not hidden but in the stars.
Link cubic room and cabaret - cabaret-role of exposure.
cucbic room as one space
compression
delusion
blank office of the investigator
blank mansion of the director
The investigator's poor sexual encounters in the dirty room - the finality of where the cubic room evaporates is only as its presnt moment indicated
For writing which goes on a journey through spaces
cubic room notes coming together in smallest space in cabaret darkness or not -
relation of cubic scenes to ex-star scenes which cluster around death
constellations and relation of ex-star scenes to cabaret - to Sibyl - to films going through the past.
Sibyl/Ann scenes as a reality (blue now-morning of Soho square) (or not - whatever always is heighest)
8) (description of devices and mechanics - choices as mechanical-mechanism along linbes of tables and rotating wheels - babbage mechansim)
MECHANISM of chequerboard logic - of the next cubic move
fallen room
as now-film mechanism inserted pulses of the present decay drawn back in the empty mansion.
- of the film's expansion (for the director) being so as to catch himself in the cross-over of disguise (Genet on Rembrandt - receding route across cabaret evenings (transmutation in blue light of him into her in the smallest space - light rain falling under blue light flicks the lights out in a short, hot burst out but still blue - drop of rain). receding route across cabaret evenings of multiple disguises (that transmutation) in candle darkness)
(always for each character a search for a false death - beauty - so as not to live on)
- Coincidence of film to be made and the film that enacts itself here (device of a filling up from the outside - of absorption and cell-take-over of all to the present) - his own death-cube as himself/not-himself/himself to come in the film to be made of his own death
- reaching towards that point through his expansion of film-process
- that the director succumbs to the plague of his own script based on his life as