(The image of) The double quality of time- one- the feeling of *plenty*- this in the sense of (the moment's) actuality's relentlessness- the other- in the planning of activities- there is a pressure- to accomplish things- to actually do them, to finish them- there is a different quality to time during such experiences.
To *produce* experience is one of the pressures of the experience of what Arakawa had called *blank.* There is a side of experience which feels tabula rasa, in which there is an inward sense of resistance to the relentless force of reality and its actual manifestations. This side of experience is akin to sleep, reverie, exhaustion, even delirium and hallucinations in its extreme forms.
These two sides of experience- one, which flows out of all that has accumulated, the other in which time is also timeless and unmoving- still and permanent as a painting, a hieroglyphic symbol carved in stone. The huge statues of Easter Island are always there, unchanging, watchful. This side of time is also always *in wait.* Even as we are wholly engrossed suddenly in some sequence of events, some future possibility...a few days ago a woman was crushed under a crane. Her legs may still have to be amputated. Toni said maybe her Karma was to point to dangers with her life- she had almost been injured in a cable car accident in Switzerland and her husband died of cancer. For six hours she lay there.
I first heard of the incident on the radio in the afternoon. I was listening to some pop music when an announcement was made that all the traffic waas totally gridlocked around the Upper East Side due to an accident with a crane. I finished work at my office and left with Toni in a cab to go see a friend's husband's film at MOMA.
A Play- The Characters
(a theoretical construct which is
I still like ANON for the title of my book.
I am writing the theoretical construct- Now for the play- Gods- in the background *two* levels- the human level and the -mind- level- which is reflective and analytical
So events on the left are discussed on the right- and ocassionally actions reach across the two frames- this is partly observable in Woody Allen's *Purple Rose of Cairo.* - by presenting this oscillation- a resonance can be "heard" emanating from parts of reality we can't "see." We "hear" the parts we can't "see" and "feel" the parts we can't "say" or "think."
For one to assume a focal point of obtaining authenticity- in our age it is visual information- visual confirmation (as in Rilke quote in the Currents of Attention article) is to overly develop one aspect- of sensory experience at the cost of the deemphasis of the other senses. The visual is the timeless sense- while the others fade in and out- the visual attains a constancy unparalleled by the other senses- and thus an unparalleled monumentality . Yet the scale of the visual includes all but the infinite although the soul resides there. The other senses in the infinitesimal durations- contain the heart of infinitude. Thus- the tower of babel was presented with limits and language at the same time- we lost immortality in order to speak- but with language came diversity and wholeness- "words were what were whole" as the poet Bruce Andrews puts it: and Genesis: "in the beginning was the word."
(music like *Call Collect*)
(1) Film- close-ups of all the electronic connections for an automatic recording to trace all the succeeding calls on any call coming in and giving a printout of this.
(2) The idea of books which you hold in your hand (Freud's Mystic Writing Pad)