Nothing Space Manifesto 1

Bringing the body of the observer into divinities form so as to obstruct the security of a deity, instead, representing through the conduit or vehicle of understanding, not abstracting the intuition from its purpose in all thought, but branding the mechanism of thinking as a result of the animal machine.  Proof of the world, the language of truth, far beyond the power and reach of human comprehension, is perceived as an imaginary imprint, a mirror of the individual consciousness that composed the form and concept, gave a constructed measure to the existence of reality beyond our grasp.  The divine I am interested in is the diviner, the body that perceives, and in its conception, creates.  The architecture of the divine is the liberation from static forms coming closer to truth mutable not immutable, a moving logos that traces a transitioning agent, a beast, brutal, wrong, curious, ravenous, guessing, acquiring new logics, constructing from the material world that we all perceive out of into imaginary understanding. 

History is a responsibility of the imagination and a consequence of memory, knowledge-gathering, storytelling.  The archiving of culture is a concept, a place for expansion upon the facts we have acquired, a bricolage of things, (Williams Carlos Williams), imagining beside and through objects.   Belief is the sinew of thought.  Time, reoriented into the spatial awareness of the viewer, is always the present time and a conceptual imagining, an energy, a magic, backwards and forwards, a cabinet of curiosities, a storage bank of absurdity and pathos, the human condition, the internal experience, the imprint of our ultimate failure at ever being right. 

Yet here we are with nuclear weapons on the submarines, so sure that security is a physical measure and not a psychological curative.  Maybe our true responsibility is in the agency and potentiality of thought?  If Adolf Eichmen (Hannah Arendt) taught us anything about organized brutality, it’s that the opposite of industrialized killing is an awareness of independence and potential.  The seeds of knowledge, AKA proof or agreement, is the start of moral behavior.  Recognition that our actions are in fact our fate, that what we do with where we are is sculpted and changed by how we proceed, that it is never too late to act upon our best judgment. 

Balance and beauty have a lot to do with each other.  We need the friction of ideas to counter the stasis created by economy and the material practical side of life.  We need the direction of art to remember that we aren’t stupid and dull, but contagious and radical.  We can bring down from the realm of the ideal, or conceptual, the material form of justice, the power to say something of power and magnitude that has never been given expression, as a pilot towards the divine, art and its practice does not make perfect, we can never truly comprehend the exact nature of reality, but practice makes dreams, principles, logics, and metaphors, practice fills in the gaps left over from industry, a poverty of the mind and body, and moves us towards a conservation of liquidity and friction.  To act is to be.  Words are just another form of action.