chrome_fetish_command/preparing the crash

last year with drog_A_tek...

the one who went missing(opening scene_titles)

(close up om manuscript)

weg von hier, nur weg von hier


(voice over loop)

The problem is not that of being free but of finding a way out

house arrest/the misunderstanding(scene_38)

(voice over)


You do not need to leave your room. Remain sitting at your table and listen. Do not even listen, simply wait, be quiet still and solitary. The world will freely offer itself to you to be unmasked, it has no choice, it will roll in ecstasy at your feet.

His name before the law of remains and boundaries(scene_86/still frame)

image/scene 1 (re_fractured)

between the shadow and the shadow (scene_22)

He wanders towards the Promised Land. That is to say: he moves from one place to another, and dreams continually of stopping. And because this desire to stop is what haunts him, is what counts most for him, he does not stop. He wanders. That is to say: without the slightest hope of ever going anywhere.
He is never going anywhere. And yet he is always going. Invisible

My dream from the dream of.../The punishment begins(scene_1)

the old man sits on the edge of the narrow bed, palms spread out on his knees, head down, staring at the floor. he has no idea that a camera is planted in the ceiling directly above him.
the shutter clicks silently once every second, producing eighty-six thousand four hundred still photos with each revolution of the earth.


who is he?
what is he doing here?
when did he arrive and how long will he remain?

Cities & Desire 5/the invisible shopping malls

Those who arrive at Terminal can see little of the city, beyond the plank fences, the sackcloth screens, the scaffoldings, the metal armatures, the wooden catwlks hanging from ropes or supported by sawhorses, the ladders, the trestles. If you ask "Why is Terminals's construction taking such a long time?" the inhabitants continue hoisting sacks, lowering leaded strings, moving long bruses up and down, as they answer "So that it's destruction cannot begin." And if asked whether they fear that, once the scaffoldings are removed, the city may begin to crumble and fall to pieces, they add hastily, in a whisper, "Not only the city."
If, dissatisfied with the answers, someone puts his eye to a crack in a fence, he sees cranes pulling up other cranes, scaffoldings that embrace other scaffoldings, beams that prop up other beams. "What meaning does your construction have?" he asks. "What is the aim of a city under construction unless it is a city? Where is the plan you are following, the blueprint?"
"We will show it to you as soon as the working day is over; we cannot interrupt our work now," they answer.
Work stops at sunset. Darkness falls over the building site. The sky is filled with stars. "There is the blueprint," they say.

A hammer on the head can injure the soul

W4 wide/waiting room closed circuit/in utero

in the vast nature/all directions/no directions

The sun warms the skin that it sometimes burns

the lost transport/internal system down

for the mind, everything is in the future
for the heart, everything is in the past

the barrier is blood

[voice over]


This great evil. Where does it come from? How'd it steal into the world? What seed, what root did it grow from? Who's doin' this? Who's killin' us? Robbing us of life and light. Mockin' us with the sight of what we might've known. Does our ruin benefit the earth? Does it help the grass to grow, the sun to shine?


Is this darkness in you, too?


Have you passed to this night?

the wipers

It’s got to be up front
Go to be so close to trust
It's got to be up front
Got to be so close to touch

Oh it's such a shame
You no longer feel the pain
I can't stick around
While you try to decide

So why just sit so plain
Your eyes show the strain
I can't stick around
While you try to decide

photo credits
Delano, Jack,, 1914-, photographer.

Women wipers of the Chicago and North Western Railroad cleaning one of the giant "H" class locomotives, Clinton, Iowa. Mrs. Marcella Hart and Mrs. Viola Sievers

1943 April

is it (really) a matter of SALVATION (/)(?)

ACT-S

these letters

are

seperation cells

A for A's sake : the aesthetics of the empowered

for M. T. and A.T.

in line, waiting and keeping warm/enter_exit_below the above