—- Make Eyes – – – – Six equally sized sea anemones pinched and drawn by threads, sliced by razor blades to accentuate the claps of the sphincter. A powerful light source is to shined through the pinched area making it seem that there is a hole. These are then to be pelted with speckled pebbles until the light source is obscured.
When you’re this far into describing, another background gives justice to one other type of ‘fire canal’. In the reading, which is more to the cause where the individual (that kicks) feels pity and wants to grieve for the developer who is seen to be remarkable, your talk sighs from you, with more kicks, being generally concerned with who and what is possible – you are this impression which stays.
It is the confinement and the dialogue which are to interrupt you. That (thing) density, as soon as it hits, gives this depiction of the field’s revealed lines. A possibility of doing. In order for there to be a gain and loss, you get a use. Will go out when writing, will be able to understand. I am bitter from the difference of hands. The chest cavity is narrow, and sits, sits, quietly, timidly tired of trying. The lumber is soft. All critique disrupts the soil and rolls up from the field, a phosphorus sound shouting in compliance with estrangement. My work of literature is in submersion from the surface which bites, and quickly passes over the shallow territory – all according to the ocean as the major matter of concern. A method of condition demands the fact that this will work, in order to compose from the progress which one sees. The contributor must remember the intermediate contraction amid its false starts, in compliance with the very end, wearing out, your vast quantity, to oppose only that which you emphasize. This is how one writes.
Carefully fashioned writing implements are found walled up in the apartment. Within a narrow cavity stretching from the floor to the ceiling, and which may have designed to house wiring, a small section was isolated with off-cuts of timber and padded on every side with thin layers of foam. Lifting off a rudimentary ‘lid’, the implements were found, held in place by a length of elastic, leaning from the bottom right corner to the top left. At about a metre in length, the dozen or so implements were bound together with thin bands of paper, one dark loop near the ‘heads’ and a lighter one lower down the ‘shafts’. The whole package resembled a sheaf of arrows, ‘though not a quiver ready to be fired but one sleeping in storage. The items nonetheless seemed both dangerous and at risk of being broken. Some discussion is made as to their precise use – mostly in terms of which ‘end’ was used for making marks – for some reason, the assumption that the objects were manufactured with writing in mind goes almost unchallenged. Yet the most striking thing about them is the delicacy and precision of their design and their construction. The ‘heads’ range from fine points (down to hairs) to bulbous swabs of polished pumice – each showing a unique orientation and shape. Intricate markings are distributed in specific areas, as well as evidence of inlaid metals and, occasionally, perforations and holes. Careful study reveals that every marking on the implements was made by another in the collection – they have all marked themselves with tribal patterns, perhaps whilst waiting inside the walls.
Firstly, concerning the field of activity / it is always a question of whether / the toxin is transmitted / remembering the oral phosphate bindings / for from the start I told two different things to each / yes, I played them off each other / but there was a lack of precise analytical techniques / and what there was involved destructive activation analyses / this is no way to consume aesthetics / or to produce affects / in all cases / 4 times to 10 times / daily / the editing process broke down / and all attempts to mark out groupings / became nothing but an evacuation / of writing / again and again I put my nail through it / starting from one single notion / it led to a unstable distribution / that bled across ostensible gaps / open pages seen from the side / this is how you are to see your applications of pressure / whether you use the machine or not / whether you are registered on the system or not / feel the joints of the wrist, the elbows / or is that the shoulders / feel the skull made up of several bowls / basins forced together / gradually filling up with its gratings / hold a book open for a length of time / just do that / this is the only directive to follow here
The blockages will occupy the cavities according to chance. The pipework is to be articulated around the exhibition space, starting from scratch – all pieces of copper are to be cut to size, carefully routed alongside the walls, taking in all the imperfections of the walls, being set into every window bay, over the hips of the skirting boards, then flashed and welded into a circuit as complex as need be. The walls and ceiling must be completely covered in pipework. Standard gauge pipes are to be used at all times – a domestic plumbing reference that should not be discarded. The blockages will take the form of flesh slices and hair – gruesome slivers of meat – that will begin to rot and emit a smell. Only when the odour has become unbearable will the dispersant, or corrosive bleach substitute, be fed into the circuit and the ‘tone’ valves opened. A series of recording devices will already be in place and running at this time, ready to capture the emitted music. All spectators must be out of range of the microphones for at least the following day. Any resulting recording – of any length – must not be modified and should be distributed in a package of greaseproof paper.