doceddi

a collective sigh

http://disquiet.com/turner2010/

is a reaction to a reaction to Susan Philipsz winning the Turner prize this year; 
“the first person in the history of the award to have created nothing you can see or touch.” 

http://www.guardian.co.uk//artanddesign/2010/dec/06/turner-prize-winner-susan-philipsz

so .. why isnt each and every mobile device you can buy today covered with a thin photovoltaic film?

in cascading toilets 
thick putrid lickety acid of a color 
         that was greener than green 
something that Escher saw but dassn'ted draw 
a stairway of Tardis interlocking in a fourth 
            or fifth or higher-such dimension 

Here we see the spntaneous prose become increasingly unspontaneous as the author searches the language, and as it happens, the internet, for ways of expressing that original fleeting image. As the mind’s focus shifts away from the initial picture towards the abstraction of language, so the original image becomes fleeting, until it is supplanted by a conscious re-imagining of the words, that are themselves only transitory attempts and trials and errors. It is a moment lost in time, painted over repeatedly by the subject’s own attempts at capturing and solidifying and making permanent — a kind of first and second and third derivative of the original, obscuring itself, like the fast fourier transform of a sound becoming the only vestige of the original report.

This sequence of events is akin, then, to the writing down of a dream in the first moments of awakening. The original memory is lost, the words remain, supplanting the real. When thinking back to the dream later, it is the re-imagining of the words that appears in the mind’s eye; the construct supplant the real; the real is lost forever.

In a way that is less clear, and needs thought, the process is related to the subject’s propensity for mistaking imagined events with actual ones — whatever actual may mean. A thought occurs, involving an action to be taken, that cannot however be taken immediately, and in order not to forget this necessity, the subject repeats the visualisation of the action, over and over again, in the hope of retaining it. Later then, days or weeks later, it is no longer clear whether the action was ever taken in reality, or only dwelt upon in this manner — the memory of imagining the action becomes indiscernible from the memory of having actually taken it.