A conspiracy theory is like the scrawl found on a wall somewhere. The inked characters are desperate to get out the truth as the owner of the hand who wrote it wants you to believe it. When the only message it sends is one of a mind in need of greater self-reflection. A mind in need of more critical ability than finding a scapegoat or a cure-all. It reads as a call for help from someone who needs to find a pattern or put an order to the chaos in order to feel as if things could be under control or solved. That there is always somebody to blame (ironically negating the randomness of existence). The laziness of its accusations abounds online but I have to believe that most people see it as I do, like nonsense scribbled on a random wall whose truth is nothing but sad.
The space consumes the form and the form the space. The terrain absorbs itself. Color sops up difference. Separations pinch. Holes twist open. Pathways stretch from crevices. This strange material is caught in a stagnant churn. Reforming the form without any original form to begin with and no final form to reach. Tossing and tumbling into itself, it ingests what it discharges and discharges what it ingests. Its gestures are traces; its cracks experiences. A static vortex suspended by its own force hovers through the emptiness.
Did you know that the potato inspired deer to grow antlers? Neither did I. But apparently potato hungry deer began sprouting their own antlers after countless years of tater munching. And certain northern European tribes that roamed in tandem with these wild deer had a trophy to bestow upon only the bravest of wanderers: the heart of the spud.
This phenomenon has also been documented in the Americas where the heart of the cactus was also bestowed as a trophy of bravery.
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.