A pretence (and some rules)

I wrote about a year ago a set of instructions to my Research dissertation, about the pretence of linearity. I sensed the 12-weeks of lockdown ahead, hoping for only 4 (until Easter was the Germans’ unusually optimistic timeline).

I reread this now, while seeking the space of two register shifts that I didn’t see coming, and realise that I anticipate them quite alright in my instructions:

Nonetheless, I would like to introduce a few rules for this dissertation:

1. it manages excess. Part of the enquiries into drawing/contact are abundant and inherently generative. They are small and inconsequential when taken on their own (at least sometimes) yet in toto accumulate to a distributed field that far exceeds 5000 words. There are appendixes, follow-up on questions and there are satellite objects. 

2. it presents in conventional linearity something that is far less linear in practice. Yet, for a textual document the practice of ‘reading on’ still presents a key approach to temporality, not unlike other time-based work. I can add loops, side notes and references for- and backwards, and still: you will scroll down or turn over. My theoretical contributions are for this presented as findings; my case studies are story-lets that open outwards (to other media, to existing or imaginary appendices).

3. it budges up against its edges, seeks to subvert and step into the sidelines (knowing fine well the sidelines are as much part of the construct as the core itself). In this, it is dissatisfied with the institutional requirements. It tries to laugh at them but also takes them rather serious in its attempt to find gaps and little fissures to disappear into, to retrieve something from elsewhere or test where the citation convention can be made to serve other purposes.

(11 March 2021, Facebook timeline, Friends, no Acquaintances, also Appendix A: The fantasy of linearity in a distributed field)

sketchbook: thisconnection as bridge

for months i have been circling around her. like an elastic band i stretch the connection and at points then jump right onto some of her pages.
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i write a cryptic line in my summary and off i go again.
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this morning i pack all three and search.
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among other things i find:
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as i continue swimming i bodythink through the cosmos. through the work the living and the dying are doing for each other at this moment in time and any other. i had realised earlier this summer that my dad is going to teach me something vital. and here in this process with Achim i realise the work that is being done by us around to facilitate the movements between here and there and what each receives in this. i think i rarely felt so tender amongst it all.
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thisconnectionofeveryonewithlungs (juliana spahr)
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it is the closing line of a longer thisconnection (men, women, roleplay, victims, essentialism)
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she will be the bridge across and away from the site. form content that connects while standing apart.
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in army of lovers, she and David Buuck investigate a plot of grassy wasteland between a few major roads.
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i have precisely such a plot. a pontoon bridge leads to it. all sorts of insignificant incidents take place. some are fantasy. a good part happens on speed. someone falls into the water and eighty-seven pelicans take off while the sparrows argue over the best spot to pig watch each morning. he who opens the kiosk at will and hides in dark corners within sells me an ice cream for €2.50. i think he made the price up. next time i check and i know he did. but he settled on it, having committed to a sun-worn board with lots of expensive ice cream (all cost €2.50). it sits next to the instant cameras,€20 for 2. how did the film develop?
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unrelatedly, i observe the verge. in mid-July on the abundant West Coast it is exuberant. i move along and record it. later i step into it and record some more. elsewhere in the village, the council spent money on controlling growth. it does so abundantly. i record eagerly and just wait for being approached by watchful neighbours (none so far).
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the specific connections this post makes are to Ag Achilleios as site and the bridge as site

I have an earlier short note also relating to Juliana Spahr here.

she fell in love (layered)

this is the centre slide from the presentation of the line. I want to record the whole presentation again but haven’t got it finalised yet.

— I am trying different forms of editing voice and video at the moment; this is a direct recording and then export within powerpoint (current version for Mac), it does some things quite well, it doesn’t record any audio across transitions, and it also seems to show that there is audio on the slide (the symbol on the bottom right). Yet: the synchronisation is straightforward (before I would record audio separately and combine files in iMovie).