A SCHEMATIC GRAPHIC LAYOUT THAT EMPHASIZES THE PROCESS OF THE WORKS AND DEEMPHASIZES THE PRODUCT = WHAT ALL THE WORKS HAVE IN COMMON.

TURN THIS INTO A WEBSITE THAT IS A STRUCTURE REFLECTING ITSELF: A NEW WAY TO ORGANIZE THE COLLAGE MATERIALS (RECONTEXTUALIZE THEM AS A SYSTEM OF RELATIONS RATHER THAN PURE IMAGES).

THE WEBSITE = AN ACTIVE PROCESS WITH THE SCHEMATIC = A GRAPHIC REPRESENTATION OF AN ACTIVATION PROCESS JUST LIKE THE ARTWORKS IT CONTAINS = A CONTAINER FOR VARIOUS CONTAINERS.

ORGONE SCULPTURES

COMES IN SERIES, EACH OF A TIME AND A PLACE.

LAYOUT THE STRATIFICATIONS AS ANOTHER SCHEMATIZED LAYOUT OF INFORMATION: DATA DISPLAY + ENERGY CONDUITS.

NOT “ORGONE” BUT “ENERGY” – LOOSENED FROM THE REICHIAN WOO WOO ASSOCIATIONS – COSMOLOGICAL MAP OF A STRATIFIED UNIVERSE.

POETIC USE OF MATERIALS – ALLEGORY OF THE FLOWER, THE SHELL, THE STONE; ALCHEMICAL TRANSMUTATION OF MATERIALS – MATTER AS AN ALLEGORY FOR CONCEPTS.

DO SOME REAL RESEARCH ON THE INTERCHANGE OF THESE IDEAS AND WRITE SOME REAL WORDS TO BE PRINTED WITH THE IMAGES. THE IMAGES THEMSELVES WILL BE PHOTOGRAPHIC COLLAGES MADE IN THE SAME MANNER (SAME PROCESS) AS THE SCULPTURES, SO WILL THEREFORE BECOME CONDENSING PORTRAITS OF THE LANDSCAPE OF VARIOUS TERRITORIES OF THE INTRAWEB.

MAKE A RUBRIC OF MATERIALS WITH A LEXICON OF TRANSLATION. MAKE A TAXONOMY OF FORMS WITH A CODEX OF THEIR SIGNIFICATIONS. 

PAINTINGS

ARTWORKS CANNOT BE MADE WITH STORE BOUGHT MATERIALS.

ANY PAINTING MUST REVEAL A CONSIDERATION OF THE ONTOLOGICAL AND THE MATERIAL SIMULTANEOUSLY: A MEDITATION UPON VARIOUS STATES OF BEING UTILIZING A PROFOUND POETICS OF MATERIALS WITH NO THESIS AND NO CONCLUSION. THE “SKETCH” FOR SUCH A WORK COULD BE MADE AS A SCHEMATIC – A PROCESS OUTLINING A SERIES OF ACTIONS CULMINATING IN AN EXPERIENCE OF UNKNOWN VARIABLES. THE PROCESS IS WHAT IS IMPORTANT NOT THE PRODUCT, BUT THE PRODUCT WILL ALWAYS RESULT IN A CONCRETELY MATERIAL INSTANTIATION OF A CONCEPTUAL PROPULSION IN ORDER TO BE READ (LANGUAGE OF MATERIALS) AND CULMINATED IN VOLUMES (BOOKS ON A SHELF) AND HYPERTEXTED IN REFERENCE TO EVERY WORK THAT CAME BEFORE OR WILL COME AFTER. THE PROCESS ENACTED SHOULD FOCUS ON THE PRIMARY ATTRIBUTES OF PAINTINGS - PHENOMENOLOGY OF PERCEPTION AND THE POTENTIAL POETICS INHERENT WITHIN THE LANGUAGE OF MATERIALS – BUT MORE SO SHOULD DEFINE A RADICAL INCLUSIVE IDEOLOGY

MUSIC - VIDEOS

THE VIDEO FORM SHOULD REFLECT THE MUSICAL FORM.

____ MUSICAL FORM: THE “FABRICATION” OF ONTOLOGICAL OBJECTS BY VIEWING A SINGLE SUBJECT THROUGH MULTIPLE LENSED-PERSPECTIVES, CONTAINING EACH PERSPECTIVE WITHIN A RELATIVE DIMENSION WHICH CAN THEN BE FOLDED AND STACKED IN RELATION TO THE OTHERS, AND CONTEXTUALIZING THE MEANS OF RECOGNIZING THIS OMNI-DIMENSIONAL SPATIO-TEMPORAL FLICKER BY RELATING IT TO OTHER SYMPATHETIC SYSTEMS IN ORDER TO NATURALLY REVEAL AN ONTOLOGICAL PREMISE BUILDING UP INTO AN ARCHITECTONICS OF SENSATION. THE VIDEO MAKING PROCESS SHOULD THEREFORE BEGIN WITH THE REPRODUCTION OF THIS PROPOSED SONIC MECHANICS INTO THE ARENA OF THE MOVING IMAGE WHILE MAINTAINING A FLUIDITY TO FLEX AND ADAPT TO THE MEDIA-SPECIFIC ABILITIES, POTENTIALS, AND CONCERNS INHERENT WITHIN. THE MUSIC WAS MADE AS A CONVERSATION BETWEEN TWO PEOPLE AS WELL AS WITH THE FORM ITSELF, THE VIDEO SHOULD BE CRAFTED WITH A SIMILAR PATHOS.

____ MUSICAL FORM: AN ATTEMPT TO ISOLATE AND DISTILL IMPRESSIONS OF THE ENVIRONMENT INTO SPECIFIC MUSICAL VOICES WITHOUT PERSONIFICATION OR FALLING PREY TO CLICHÉ. THE MUSIC ATTEMPTS TO DESCRIBE ELEMENTAL CRITERIA OF A SPECIFIC SWEDISH LANDSCAPE AS IT FORMS A SPECIALIZED AFFECTIVE RESPONSE – STOCKHOLM MELANCHOLIA. THE VIDEO SHOULD BE ORIGINAL FOOTAGE (NOT FOUND COLLAGE), SHOULD INCLUDE THE SELF (VERY FUCKING TRICKY TO DO THIS WHILE MINIMIZING EGO), AND SHOULD CREATE A GRAYNESS OF THE LANDSCAPE WITHOUT REVEALING ANY SPECIFICS OF PLACE. THE REAL DILEMMA IS HOW TO MAKE SOMETHING WATCHABLE FOR THE ENTIRE DURATION OF THE EPICALLY PROPORTIONED SONGS WITHOUT INSTIGATING A NARRATIVE PROJECTION BY THE VIEWER = IE: TO MAKE CONTENTLESSNESS INTERESTING ENOUGH TO TRACK.