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future-present fruitful synergy
to create = to envision
models of creation-mediation
meditation in the NOWness
the END of NOW everprescence
the ongoingness of the emerging
render rehab-shape-redefinition (HD)
tools to refocus (alternatively-focused)
artistic virtual realities
metamorphic dialogic language(s)
a oneness in the openess of space
external internalities
(shards of self,
shards of other)
extend over / beyond / through
the reflective circle:
mirror globe englobing 
emergent processes
peripatetic navigation
centered mobility
mutual narrative intervention:
“break the isolation of the cultural actor”.

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Vulnerable wiring vs juggernauts of Utopian alphabets. She is in the Que tal of genuflection. Giving the committee her all. Her alter ego. The higher the voices declaim, the smaller she grows in the corner. We want her tall. We want her gigantic. We sketch out an alternative poetics of spatial features. She returns to her normative size, dictates a few commands to the awaiting go-fors. It is about hearing in between one another the all-encompassing needs for a kind of groupishness. It seems like it could be a dream of a waterfall politics of curatorial mind, or a mine field of get-or-can’t-getalong traps. Sounds like antelope. Or antecedent. They don’t hand out insurance or a pill for that. The cure-all is in the dialogue. Our negotiation. Not the back but the front room conference hall mutually satisfying agendas. She steps up to the podium. We know how to applaud. But will we? During the Q&A, one of surprising tensile force, she just grins and bears it. The human(e) central approach, she says, elaborating on some concept of programme making vs curation. We might think this a lopsided vision of creation, that we will be back to the drawing table. But no, the show holds its own. No sparks are loosed from the wiring. Nothing catches fire.

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Pssst! Don’t tell:
All available agents, calling artist journeys (artists on a journey) to survey a cross-analysis of research paths (cross vs multi-cultural: ROPES / roped in/ ropes carried over and) mobilize sectors of artistic exploration: be in or out of the art making?

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Clarification and Elaboration
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arrival on board the project :
What is the project? What projected is clarified? How to clarify a projection: to object to the elaboration of arrivals of onboard signposting. NOW was beginning to be THEN (them). Future-clarification about projected arrivals: a landscape of beginnings, twist-turning around a lexical field of connectives (disjunct) (rejeuvenate) to explore, extrapolate from the elaborative arrivals clarifying projects.) A purposeful codification along the faultlines of (our) (their) creativity.

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Action (III)
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Scope (peri-)
Point (Bridge) –Frame (Encircle) – Instance (Localized)
3 Phases (Voyages) :
Phase 3— “Arrival which is not an arrival” (Anne Carson)

Skin shed, projects closed, shows like old shops perhaps more like seasonal venues boarded up. What joyous afternoons at summer seasides have left of a mark, a project, a sculpture, a photo, something (remnants, artifacts) for the day books or reviewers to re-examine? To locate in the NOW of now’s arrival: the end of NOW where one asks whether they have managed to attain the goal—binding /findings on: “immaterial activities and the making visible of such production mechanisms”? This is the phase of arriving at the moment and place sought along the path. Should the pilgrim feel like this is the culmination of everything, the endpoint? For endpoints, like any finite thing, feel like a little death, invite a light lament, elegy, a little mourning into the celebration. Minute shadows dance along the walls leading up the final steps to where the journey (must) (needs) ends. So how not to arrive at our arrival? The pilgrim says: Let not our terminus be more than another name on the map: Finisterre. A bordering of solid and liquid. Oceanscape outlook after the long journey overland. Yes, we have now come to where the earth appears to take its leave of us. But what we have accomplished here, and what we may leave on this stone by the sea, is not the be all end all: process, art-making-movement, travel, encounter. The waves lap at the shore, or does the shore kick against wave, each eroding the other. More to come yet still, here a momentary fixity of that path (footprint) which has been taken and takes its leave of us. An instant (instance) localized The pilgrim remains a pilgrim. The earth adrift in an ever-expanding universe.

To innovate ?
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Action (I)
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Scope (peri-)
Point (Bridge) –Frame (Encircle) – Instance (Localized)
3 Phases (Voyages) :

Phase 1

For any pilgrim setting out, the bag must be packed carefully. What to take? How much can the body carry? When I encounter the other, what do I want to share with them of my home, of the here my objects may contain? First, the rucksack is filled to over-brimming, seams stuffed, the books, notebooks, memorabilia, maps, clothes, snacks, tools, shoes, soaps, packeted provisions (in case of—? loss, injury, confusion, illness, estrangement, discomfort?) all there. But when the pilgrim first lifts the sack, they fall under its weight. A sieving process must take place. Winnowing. If there is a fire, and I must leave my home with only a few things, what are they? What is the essential in art? Of art? In the instant, one may not collect (recollect) the necessary items, or, oddly, what they will feel attached to once they are lost. The violinist clings to her instrument in the hall, but the writer left the laptop, grabbing a coat instead. The walls of the gallery are lined with digitally recolorized photos of the one single tree bent at a 45° angle by hurricane-force winds. In bluish purple it hardly looks like a living plant, abstracted to extraterrestrial form fighting force. But in the greens and browns akin to the natural habitats of Northern Europe its annual hurricane season struggle in some Southern clime against the habitual forces, and its almost heroic resilience, rocks the viewer, as if they too feel the gale and must hold hard to the railing, lean to one side, wait it out. The journey, however, must begin, a bag must be packed. It must be portable—for the single, the individual, to head out into the landscape of the other. In the end, the pilgrim will learn that they did not need to bring everything themselves: the world that awaited could compliment what could be carried, supply options (not replacements, but the non-native becoming native). From where do we start? From the I of we. But soon enough we begin to eye options: as singularity encounters plurality. The departure is a lone point, but as soon as the pilgrim has set off, point becomes line, bridge marked for intersection, crossing. Everything from the path, the landscape, the sky, the weather, and of course others, their artistic, conversational, linguistic, cultural baggage enter into and emanate from and through the initial I/eye as a plurality of selves emerges along a chronological pathline to we(ave) a pattern into the earth.

Artistic practices
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Action (II)
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Scope (peri-)


Point (Bridge) –Frame (Encircle) – Instance (Localized)
3 Phases (Voyages) :
Phase 2— A desert? An oasis? A long road ahead

What motivates a pilgrim? Is there an end-zone or is the moment everything? Being in (within) process, a procession. What does movement assume/presume about fixity, goals, initiation, arrival? There comes a morning when even the raised binoculars cannot see to the end of the desert opening sand dune upon dune, ochre, dry, seeming endlessness of the ongoing. Process processing, overthinking, the pilgrim may question, ponder, pause en route but in the end the route is the path is the going, and so to find the step and the next, then the gratification of the animation (anima) against the inertia, is answer (respite) (reason) enough (resonance). Lucky for the pilgrim, they are not alone.

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They emerge in the waking dream as if out of thick fog on a snowy morning. The green hills of beginnings fresh in their nostrils. They are breathers of fire, carriers of artifacts and remnants of obtuse recollections. They shake their heads as if they know something they should be able to say. The air is heavy with their silent voices, yet the call of migratory flocks of birds surrounds them. Unwinged, they cannot join the flight. They close their eyes, a row of dark-robed curators atop a lonesome hill, and feel their own release into air. But once opened, their eyes confirm the illusion as earth’s solid footing re-collects in them. They are between the flows of time. Rivulets of sanctuaries emerge from their toes. What does a stream carry naturally southward? Who encounters these soon-rapidly-running streams? To drink from the fountains spreads their vision. Buildings and builders come to lap up the waters. A shared expectancy. To perform miracles, to make, to be in the creation. They wake to sleep to dream to wake once more knowing only the certainty of this endless becoming which they are galvanized within and by. To lean out towards. They listen for another flock emerging and passing southward. They remain rooted, expectant, alive.

Observer 2
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Another weeklong outside observer asks:
Can they strategically develop an artistic process? Oxymoron or new process of oxygenating creativity? My observation?: The collaborative is a letterpress soup, exponentially rich with criss-cross-sections of societal (national) (cultural) boundaries. Making or maneuvering towards? Foundation.
Rowing: as against disparate elements. Pretending a unification: or locating one?
Reykjavik and Rif (IS),
Cagliari (IT),
Saint-Erme-Outre-et-Ramecourt (FR)
Florence (IT)

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Journey to the day of departure

Blue indicatives
alternative vocabularies and thinking modes
a ‘we’ struggles to build: commonality, groundwork a basis
for foundation-curation-exploration
an exploitation of cross-sectioned
strengthened skills abilities
among support accompanying structures
for / from / a forum of the arts
Ability: (def) from 14th century Middle English ablete, abilite, habilite “suitability, proficiency, ability,” borrowed from Anglo-French abilité, borrowed from Latin habilitāt-, habilitās “aptitude,” from habilis “easy to handle, adaptable, fit” + -tāt-, -tās –ty. Defined by Merriam-Webster in 2017 as a) the quality or state of being able, especially : physical, mental, or legal power to do something or b) natural aptitude or acquired proficiency

“We” are exploring our grouped ability wherein our
“We” contains the company
(an enterprising group, friends, to enter into the company of strangers)
in ac-company.
A-company: opposes the beam of support.
This new architecture (human company) is not a replica
Neither steel nor wooden scaffolding.
Not to hold up nor aloft
(a not-support (beam))
Rather: contain
be within
make central not skeletal
the conditions for new art making
diffusion dispersion techniques of allocating
inspiration (a process of oxygenation)
cells brought into animation (not suspended)
flexibility of cellular growth: an art lives
beyond the substructures of limited economies
eradication of cell walls? (borders) (nations) (cultures)
de-quantifiable evaluations
disqualification from the formerly accepted practicum of art expression
to denature the art that should never have had a delineated silhouette
render the precarious ubiquitous
risk rushed headforthinto
art (thou?) where
set off

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Or permeability?

Delve / Dive
Deeper yet

To balance
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individual voices with(in)(out) the group voice
winnowing / comingling
Common : Among
hierarchy, effacement, erasure, placement, standing, orchestrating,
Re-enact an ethereal space of THE encounter
Avoid the ‘closed’, ‘fix’, ‘finished’ object
to trigger and re-trigger
starting at /staring at points

our alchemical reaction

Observer (I)
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A weeklong outside observer asks:
Is the word create in curate? Is curate equivalent to orchestrate? Whence to (or Henceforth) (shall I) (should we) contemplate? To pontificate Pointillistic proximity in the North-South hinterlands in meetings organized by Lab 1, Lab 2. Onwards! She feels like a joiner, but…

An inside voice traces a backlog of beginnings. Nostalgia, neuromagnetic forces (fields)
The outside voice is a series of backdrops like exhibition halls traipsed through: a public

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ex-centric : a cultural geography practice documentation—con(tributary)
(novice / novelty)

users worry: is wiring without (intended) xenophobia
a form of loneliness?
meditation: subsidy

collective (connective) alliances
far-familiar tale: to bait friends / collaboration

MAP: (to) identify Newness
a politics of prospective shifts
solve for:
zip-zap-skip-scuttle-schlept over-subtle-(press when ready)-work:

Commence, depart
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Topics / Optics
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a research path (Edifice)
co-creating a ground on which to
co-curate meetings (greetings) (grievances)
facilitate dramaturgical, artistic and research advisors
for the co-curation (sounds like susurration) process
experientially rich
a rewarding measure of….