THE PROLOGUE

Teeth slightly apart.

Yes.

Can you hear me?

Yes.

And now, you are here again.

And here, over again, now, through teeth slightly apart, a voice speaks.

It talks about the trance state brought into sensing experience, proposing hypnotic induction through movement and affect, and the nonconscious as physical object, positive, not hidden. Hallucination occupies a productive site, where the disorient becomes a way to move forward. Here, entropy and the paranoic visage are distortions of already ambiguous stimulus. Events, moving fast, are generated first through focused attention, then, abstraction.

The voice speaks through funnels, it lacks mediation, forming a link in a chain, interrupting and being interrupted. It comes less from the subject-epicentre, and more as part of a machine, expanded by the non-body. The voice then in all complex forms behaves as a seismograph. It registers a disruption in the landscape, clocks the constant quakes.

The voice is scripted, although in the same moment, lacks an author. It creates and is created by a bastard screenplay. It is energised by the potency of uncertain, fragile, relationships between the materials it describes and tunnels through. Each material - object - like a player in a complex game, moves across a grid in an attempt to resolve itself.

Then, what is this voice? The work? Not content to be housed, it fractures into a series of Russian dolls, that fit again inside one another, a body of interlinked bearers of information. Inside each doll is the act of obliteration, the blind spot.

And in the voice's desire to annex one space into another, comes a discovery that space is immanent, and suddenly, access turns back in on itself.

And now you are here. Again. Begin.