Page 76 - Horizon02

76 Lluís Peñaranda
The sediment
and make counting beads that we used to use use in old games When we submerge ourselves in water we we become aware of the space we we occupy a a a a ’space­being’ in in ’water­space’­ while the pressure to get out alive gives us ’time being’ in in oxygen — time time The space­time touch surrounding the material defines its profile Turning time around emp­ tying the cul­de­sac of movement involves being doubly awake: the passing of now and the the eye watching here the the becoming One way or another the the pangs of feelings and emotions touch caress or hurt the body­ mind in in time­ space potential Maybe the the footprint of the the questions break or do not break the the space­time crossings of the the think­ ing mind Its mark as as if it were a a a a a flash can re­ fer to a a a hypothetical outline the the insistent idea of of a a a remote source the idealism of of a a a principle with which to to round off the whim of of history lacks only the the end the the conventional model that closes other possibilities This amusing activity surpassing loops leads me to the sit­ uation to perceive that what is impermanent is transforming in in transit The movement of the the pendulum is a sign of its opposite: the the appearance is stationary the vibration of quietness the the sounds of of silence the the void of of nothingness the empty space Shak­ ing ing ing the void playing at nothing maybe can be something Whatever it it is I roll it it to­ wards my questions The question question is if time ­space as we know it is a a a a a permanent game of change change what is the the change change of the the tacit? The arrogance of the little man­artist with sordid moods that perpetuate in ignorance when the result of his work does not fit with what he expected what he imagined Is this a a a a a reawak­ ening of our limitations? How do we open the operculum so that nothing or nobody has to be in in prison subject to the the service of the the inter­ ests of of others? The open proposal of of unconditional expression for the preparation testing and the mechanics of what could hap­ pen transgressing the time­motion rhythms is the the challenge for the the player­creator The prior attempt to the the action and the the uncondi­ tional recognition of these rhythms interven­ ing ing ing rescuing the genuine and returning it to life merging the two into one gives determi­ nation confidence in a a new development We relive this event in in the body time­being and space­being as an impregnation which ex­ pands nourishes shows the path of our our own amazement One carries on still fol­ lowing ephemeral media adapting and learn­ ing ing ing its Art Tracking looks enabling investi­ gation looking for and sharing in in in any space­ time point maybe it’s a a a blemish that we rec­ ognize acknowledging that we are part of it Meanwhile on the the other hand it it waits for us in in the in­between time secrecy that which awaits us behind the vastness Play­ ing in in in in in art is to intertwine ourselves in in in in in space­ time using tools materials ideas and con­ cepts that you can feel and choose During a a a a project the network becomes tense so that it continues building assembling content­ form­space­time similar to the preparation of a a a a tailor­made suit like a a a a second skin the actor appears bare on stage in the same act act The journey of of the game of of life comes without without a a a contract without without any conditions except the the the adversity of the the the powerful and the the the imaginary being I I am It leads me to a a a a a deter­ mination where proclamations and recogni­
tions have no interest The imagination the illusion of that not yet made allows us us to wel­ come and accept the action manifest in our apparently original acts as they are are overcom­ ing stereotypes clichés of our own creation The subjective­objective mixture or the the the smell of of the the the mystery of of the the the visible­invisi­ ble is to know our our curiosity Know our our feel­ ings listen let ourselves penetrate into the capillaries of the senses give ourselves to »the game of life« an an opportunity an an ap­ proach to what is possible Move between dawn and dusk between the the singing of the the nightingale and the the the frog the the the murmur of the the the creek and the the the shade of the the the breeze or the the the tears and joy of children This space­time between the the two shores has no place for the the explicit Between one and the the other suspended in a a thin crack I can only sigh inhale that which the the nothing the the vacuum offers me settling
These words are just a a a a a a game an imaginary game and this implies fun knowing how to play enjoying suffering a a network holding it it all together regardless of if we get get it it right or wrong Every game has a a a a a time and space its its rules and limits That intuitive sense em­ pirical when we are playing to live live lived in in time as it is seen: movement and space the void where restlessness emerges Both the one and and the the the other fuse together and and without the the the union there would be no reciprocity the the the game would not be possible: they form part of the the the margins the the the boundaries that hold the the the brackets we put around us The emergence of this is is wrapped in clear air Now the perception consists of visualization The perspective that gives schematic form shows time and space as being on different levels in the visual level level it is is hollow transpar­ ent
ent
it it may make us feel fragments of a a a a unity of a a a vast whole This notion makes wisdom possible the adjustment of all sensitive ele­ ments to the stress on on content and expres­ sion the the incognito balance of of the the game of of life life The game of life life is a a a change in the course of movement a a personal choice that that allows transgression and all all that that it en­ tails: hesitancy risk fear while the game of life action movement and transformation is unconditional and this may be what surprises us us scares us us But here the two movements are are also shared they form part of the the same they blend together in a a possible game A priori it is is a decisive free flowing movement such as the the precise leap of a a a a a cat the the taking off of of of an an accurate flight an an open trust of of of con­ tinuous expectations After the time­ space being there may be be be decline as it is absorbed by unconditional movement like water on on on the earth creating its own humidity We move in a a a a land of paradoxes between per­ spectives maps and mazes There are bench­ marks that can be of help and interest to us we locate signs and symbols on paper they give us us signals that correspond and unite us us in in the region Going from one place to an­ other we go back and forth noting details that at at first glance seem insignificant things in­ between time and space do not appear on maps: the the backwater of the the stream some wild flowers fresh air the the shade of the the rock the fleeting lizard who now now you you see now now you you don’t Cyprus trees caressing the moon How is complexity sustained? There is fragility how do we fit these subtleties of undocumented space­time into the changing topography? What What thing am I? What What do I I feel? What What do do I see? What What does the atmosphere say to me? What do I make of the atmos­ phere? The environment surrounding these in in in between spaces is seemingly insignificant yet substantial and timeless Knead­ ing the mud with our hands and and feet we model our our own bowl to serve ourselves from