Hiromu Kira, The Thinker, 1930
The modern vanity, with its exchange of concrete blocks against nature; the modern vanity, with its liquid passions against perdurable. Is a long process, and is not reactionary. How to take forward a provocation? I built texts only out of need. I reconstruct memory to find new angles in the approach to a more complete future. Suspension or irritation? Not to hide. / . Not to distant. / . Not to over analyse. / . But just go through.
A dynamic of repeated instances can lead us to mapping our spirit of the time. About the past, I ask to myself not for an addition but a subtraction, reading on the name of alternative presents and futures. Create the condition of multiplicity, and go against dissimulations of singular details, I mean, refitting me into me. We and the social hiperdensity, we are overcoded, without understanding even that the making of repetition always requires variances, a diverse assembling of elements, a differentiation in common settings. Intensities are matters of sensibility. This journey I do is a keynote to multiple related paths for my humanity. Avoid the tactics of the hidden, then open the ones of comparisons (constellate particles and create new ones).
Sometimes, cities are about finding home even in the wrong places. This earth is the true home, and we kill it in order to build capsules under a mark of enclosure. This bodies are our home, and we prohibit them the exposition to leisure other osculation . We are never alone. There is no world and there is no home to be addressed in a single spot. To be in the city is to circulate, to be in the body is to circulate. To circulate is to live. To live is the only chance. To work into one identity, yours, mine, leads to come together within others and share. Trigger others to discover the chance to redefine terms, and stay to be triggered. Yuxtaposition creates a narrative. Live is about narrative, since narrative is a matter of time.
