urashima tarō, shadow puppetry, personal cosmogonies


within the holomovement of performance my reading of the visuals sinks in as an abstract narrative which merges strips torn from shadow puppetry, asiatic folk tales of the sea, love songs of the paleolithic or, to be less prosaic…

the disinterestedness of play where sound as substratum, as bearer of predication provokes structural coupling and prehension; grammatica parda, tawny grammar, dusky knowledge and mother-wit spliced with kado the way of flowers; a morbid voyeurism of the rattenkönig at võrumaa, corroded electron tracks inscribed into scrolls, papyrus, parchment; no sumerian past or knowledge as lists, no ideology carried as a mental tumour but quincunx, refraction of a bijou and the bivalve ensis arcuatus; a paradigm of complex disorder brought under somatic control, les ruptures spontanées de la symétrie coetaneous with invariance by means of projection and finally the question – nature as a reserve for the industrial?



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