The glass curtain rolls over every segmented and coded unit ready to plug into a conditioned lack. In the cavernous belly of the beast, only objects of warm and cozy domestic bliss can be found. The unctuous chain of production leads back to certain reflective surfaces that bounce any seekers back to the reproduction itself. And in the rafters of the subsidiary, the conglomerate shadows eavesdrop for absolute compliance in service to all desiring machines in all directions.
Why else does the immensity of this space exist bound by the heaviness of this sea and cliff but for the most delicate of forms to sway and flow in the mimicry of something ineffable like a floral jellyfish or an illuminated nautilus whose static dance inhabits the gestures of Isadora Duncan stinging this spiral between weight and weightlessness?
The geometrical apparatus holds the sleepers who warp its architecture with an uplift so tremendous that it breaks into a distant shoreline. And this occurs in only a brief moment of the half-sleep allowed. The microquake of a nap ceases as soon as it begins by the pitter-patter of birds (varies from sleeper to sleeper – plovers, seagulls, sandpipers, egrets, herons, and so on) across their sandy brows. One sleeper reports a cassowary darting over her dune-laden forehead before she can fear for her life! When the sleepers abruptly awake from their slumber, it is imperative that they ignore their tectonic activity simulations or else the tasks at hand might wash away the added benefits of transitional states contributing to enhanced productivity desires.
As I head off down the road, my head splits in two. Nothing but fibers stretching and breaking apart. As I wonder which hemisphere of my squash I might be more comfortable in, seeds spill out and spawn pathways that fork off into other pathways. The rhizomes tempt me to question whether comfort is worth anything at all. Constant wandering mimics the framework better than any static container. But if I am everywhere at once like a bust open squash spiraling its flesh in every direction possible, then how can it be that I also feel like a singular purposed machine racing toward a vanishing point (as if it wasn’t of its own making but some actual physical vertex that the machine will eventually shrink into)?
I do not remember the exact moment or place of this photograph. I vaguely remember and assume that I waited for the wave to crash. Or was it a boulder that fell into the sea? Either way it looks like fate now. After the fact. Every particle suspended in a moment. But it never was suspended in actual experience. In that sense, fate seems baked into memory. An inseparable part of it that fails to grasp the immense complexity of randomness. Generalized fate simulations of memory gloss over the myriad of differences under its cover in order to produce some cohesive sense of order. A gist in the mist. A referent to nature sold as an epic experience or a reflection of an aspect of consciousness that never quite happened in the actual way the photographer experienced it nor the viewer. A simulation of a hyperreal moment. A fated memory smashed by particles flying in all directions. Through the reproduction of the image, let us fold this back in on itself. Let us rework this “moment” randomly. Let us bring the mist back into the gist.
Now we are no longer in nature or under its referential control. It is released from any semblance to a fated memory or reality. It feels light and free. Nowhere in particular. More mist than gist. The random process mirrors the random moment. The iterations reveal that there wasn’t really any reference in the first place. No actual moment experienced and relived. Rather, hovering in a space without an atmosphere that Baudrillard called the hyperreal in his book, Simulations (1983): “Simulation is no longer that of a territory, a referential being or a substance. It is the generalization by models of real without origin or reality: a hyperreal.” In this sense, an angle on the illusion of Being can be held through what some people call manipulation of a photograph (or when they scoff at an image being “photoshopped”) when in fact every photograph is a manipulation to begin with (though the very word is too heavy with negative connotations as if it had some evil purpose, so “construction” perhaps fits better to a neutral sense of the process).
If vision itself were visible, it would gush out like a current of foamy water from a facade of bone. If language were visible, it would be seen swirling in and out of the cranium like the sea flowing through a cave. If tranquility were visible, it would be a skull suspended by the flow of what it contains.