
- See: Image
:: note :: ... the earth is always art ... it is always our perspective ...
What you alter in the remembering has yet a reality, known or not. - Cormac McCarthy

"'We erect our structures in our imaginations before we erect them in reality.' --Karl Marx "(via)
"The nice thing about the future is that we can't yet remember it. The nice thing about the past is that we can make it up as we go along."(YOU ARE BEING REMEMBERED |Utopia Suite)
"And despite recent history and on-going tragedies, many of us still hope ardently, some would say innocently, for civic solutions to our ills, still believing in the possibility of creating a Utopian society, with health and wealth for all (or at least a much greater sharing of these). Food, hope and shelter, clean water and air, and maybe even love."(Into | Utopia Suite)
"My advice would go something like this: forget everything school has taught you about what it means to learn. From now on you will grow and learn and acquire new skills and knowledge from the most unlikely places. Don't look at the people at the front of the room for the answers, look at the four people sitting around you and engage them in a deep conversation. The answer lies there. Or if not the answer, the next question, and it is finding the next question that is going to keep you going for the next 70 years."
"And never forget those four people. You will see them again. This is because contrary to what school tells you about questions and answers, the truth is that the world is an oracle waiting to be consulted. You must take time to frame the good questions and then pose them to the world and then you must wait to see what result you have made with those questions."(Parking Lot | Advice to graduates: cultivate your network learning abilities )


"An intimate, evening-length performance of the hereditary compositions of the female court dancers and male dance-masters of South India. play draws inspiration from the salon performances that were given by devadasis in South India until the early part of the twentieth century, and therefore relies heavily on the subtle and nuanced use of the face, hands and Karnatak music. inDANCE's representations of devadasi repertoire are thus stylized abstractions that call attention to the language of desire, love and jouissance once spoken by devadasi women, and today silenced by their disappearance. Conceptualized within a modern aesthetic framework, play is an evening of never-before-performed antiquated repertoire that speaks to a universal audience."(inDance Repertoire | play (2002) )

there's no such thing as the poem.
there's always only this poem that
happens to read you. but because
in this poem see above you can
say there's no such thing as the
poem and there's always only
this poem that happens to
read you even the poem that you
don't read can read you and there be no
such thing as always only this
poem here. both you and you
read that and this. call both by
name: they read you even if
there's no such thing as you only here
(Translated by Rosmarie Waldrop )
"I believe only in the evidence of what stirs my marrow, not in the evidence of what addresses itself to my reason. I have found levels in the realm of the nerve."(MANIFESTO IN A CLEAR LANGUAGE by Antonin Artaud)