At birth, the child carries the womb out and unfurls it, but it keeps unfurling as the child grows into an adult, and never ceases unfolding until the material is rolled back up like a rug put back into a box with other rolls in deep storage. Patterns interlock across endless fabrics knitting themselves together into a greater common rug known as existence. The inside is always the outside. No matter how deep one unfolds into the experience of consciousness, a surface awaits, for the interior is its own exterior. The womb was never left behind but carried out with the other countless re-wombings that populate the planet, the greatest womb through which all of her wombs birth themselves into a singular consciousness segmented only by the illusion of corporeal cells called bodies. The spin of the great mutual unfurling of all wombs coincides with and inhabits the greatest womb hurling through the deep space of greater wombs yet to be eventually carried through the vacuum of a black hole again otherwise known as the rebirth canal.
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.
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.
Look at the way she tumbles into forms in the sky. How she shrivels as if in a sweet agony for all she provides. Her nourishment to the cochineal. Her milk flowing for the wrens. Her surreal limbs an absurd perch for lizards. Her crooked windows perfect for spiderwebs to catch flying morsels.
This wild canopy cages the hill like gnarled hands rising out of their giant burials. These mad sculptors of fruit radiant with needles that mimic sunrays! What strange journey left these bent up propellers behind to worship the sun?
Once upon a time there was a poor man who found a valuable necklace on the side of the road. He lived with others he did not trust so he found a spot in the woods and buried the necklace there. When he figured out where to sell it, he returned to dig it up but it was gone. At first, he thought his mind had played a trick on him so he dug many holes. Still no necklace. Tired from digging he took a seat and saw the necklace dangling from an oak branch. he thought to himself, “how did the necklace unbury itself and get up there?” Surely somebody else did it but why? Was someone watching him? He looked around the lonely forest before grabbing the necklace and pocketing it. But when he returned to the village where he wanted to sell it, he reached into his pocket only to discover it lost again. This village was known for its pickpockets. He figured that somebody slipped it out of his pocket. On his way home, the necklace appeared in his other pocket. Determined to not let it slip away this time, he hid it in his bed. But in the morning, it was gone. He shrugged it off and went to work where the necklace reappeared in the mouth of a horse. He grabbed it but it fell to the floor and broke into pieces. While he was on his knees picking up the pieces, somebody asked him why he was putting the horse’s teeth on a string. He looked up at the horse who gave him a toothless grin and finally laughed at losing the necklace all over again.
the samurai slices a metaphor half remains the other swept away to embody a forgotten choice