|
francesca da rimini |
SPACE99resembling the body called flesh sticky segments set randomly adrift in the network gathering ghosts from the machine to illuminate an event horizon that breathes alone among others he says the universe is an hallucination she says it is a field enfolded she says she has been captured by a city of ruined children he says these spaces are eating her savage joys she says dreams drip away, revealing the indistinct SPACE IS THE ULTIMATE HIGH GROUND resembling the body called flesh segments that have been set into motion as trace, trace which stains stains roaming new memory systems in search of a place to rest the storm is here the wind from below is coming time for a new R/reality GLOBAL ENGAGEMENT IS THE APPLICATION OF PRECISION FORCE FROM, TO AND THROUGH SPACE she says the stars are slowly disappearing, light becoming dark he says it is only here that he can exist she says she is running blindfolded towards the ever brightful he says there is no beginning, but a circle containing a gap for the unexpected to enter she says here there are intensities which he cannot begin to understand he says to him all things are less than zero coma life trawls drearily towards the inevitable while new forms arise from the ash of future's memory building their skins, sewing and patching, tweaking and stretching pushing beyond what many from the comfort zones have drowned in SPACE POWER IS VITAL TO ATTAIN OUR GOAL OF BEING PERSUASIVE IN PEACE, DECISIVE IN WAR, AND PRE-EMINENT IN ANY FORM OF CONFLICT our dead must come out of the night and the earth let them dress in the garb of war so their voice may be heard in the empire of silence stories that dance in the mountains in that climbing and falling of red stars breaking the mirrors of Power moving into the elsewhere afterwards, let their words fall silent and let them return again to the night and to the earth adrift in the network resembling the body called flesh are packets of soft recognition Now they are one in front of the other, any more distance would break the contact, less distance would make them implode. Two forms point one on the other, they are staring at each other crossing the selves. a scream, yes, a scream he says that it was a night of intensities and he did not plan for it she says she believes in nothing less than everything he says that theirs is not a mathematical relationship she says her thoughts are as dark and sticky as blood The moment of the sexual act I multiply my personae, do you understand? No, I do not understand. Do you understand the problem? No, I do not understand. I became multiple, animal, innominable power, I hear myself speaking with other voices, I do things which then I do not remember, you are going to have a sexual relationship with one thousand persons. I am worried for your safety. tremble DUE TO THE IMPORTANCE OF COMMERCE AND ITS EFFECTS ON NATIONAL SECURITY, THE US MAY EVOLVE INTO THE GUARDIAN OF SPACE COMMERCE shadows of tender fury the passing of the dead shelters those who have nothing . . . those who bear the historic burden of disdain and abandonment those who don't exist ciphers in the big accounts of capital the gigantic market of maximum irrationality that trades in dignities WE MUST BE INSTANTLY AWARE, GLOBALLY DOMINANT, SELECTIVELY LETHAL, VIRTUALLY PRESENT ring a ring a rosies pocket full o stealfies bend over banker lights go off all fall down she says the Power assassinates and forgets he says he supposes she also believes in goblins and fairies I become a horse, if you look straight in my eyes you can see that I have got the eyes of an horses, gaze at me. You do not look like an horse Yes, look at me, can you see my eyes? Yes, it's real, your eyes are transforming, they are big blue deep, a descendent lateral cut, you are blonde, much more blonde than I remember. I understand that you look like an horse, but I cannot see what is the problem. The problem is that in the sexual act my personae multiply themselves And each one of them pass through me. Yes, but this is not a problem. In the sexual act I multiply myself and maybe you will find yourself hanging by the big toes while I'm cutting your throat with a blade made of tiny wood. I understand, but this is not a problem Do you understand which is the problem? No, I don't understand. throughout a weary transportation of transmissions with time so small it stiches itself through the imaginary framework as a voice revealing the thematics of our current ruin CONTROL OF SPACE ASSURES ACCESS, FREEDOM OF OPERATION AND THE ABILITY TO DENY OTHERS THE USE OF SPACE she says that she no longer knows herself she speaks of butterfly wings crushed by a creature with no smell she says that a devastating glance has rendered her invisible she says that they have stolen her silence, leaving her only with useless words she says that now there is nothing left except emptiness No, my sexuality is a multiple sexuality too, I am moving and changing shape too, even if I'm often female. Anyway I remember everything. You will not know with who you are lying, do you understand? Yes, I understand but for me this is not a problem. You do not want to embrace me. We will never embrace, it will never happen No, I do not understand and I am steeped in stagnant water-lilies. THE GOAL IS FULL SPECTRUM DOMINANCE these anchors for listening, watered by the tears of the dead, pooling a slow, eroding trust to a bitter circuit in the lines of power chemical pale sleep dreamstained sheets no centre, ragged edges zeroing tolerance gene raiding hyperdecay fox bites tail invisible artillery follows nurse with wound endlessly uncoiling a spectacle of irretrievable situations intolerable signs ruined, all ruined come be my next five minutes come, she said destroy, she said In a moment you become transparent and I embrace your framework, a red skeleton as a radiography, I pass across yourselves and then the palace comes tumbling down, I lose you between the ruins, I do not see anything, not anything else. these are attempts of resembling the body called flesh this is a cry for new memory systems to address and build despite the lack of attention given to such building this tender pain that will always be hope such are the voices of the body called flesh collage of texts by: diane ludin, macchina, ricardo dominguez, the zapatistas, doll yoko and the United States Space Command CV Francesca da Rimini started working in 1981 and collaborated on her first super-8 film in 1983 and co-produced the video documentary 'Bitter Surrender' in 1989. In 1985 she began working on an art and technology pilot project which became the Australian Network for Art and Technology. da Rimini worked in the computer industry in the early 1990s and co-founded the cyber-feminist art collective VNS Matrix. da Rimini's writing has been published in 'Women Love Sex' (Random House), 'New Australian Writing 4' (Picador), and in numerous print journals and e-zines. She has performed live at 'Virtual Futures' in the UK in 1995, and at 'The Thing' in the USA in 1997. In 1999 her novella 'Fresh Meat' will be published by Shake, Italy. websites: http://www.thing.net/~dollyoko http://sysx.org/gashgirl |
|
EAF index
PROJECTS 1996-1997-1998-1999 EXHIBITIONS 1999 |
artist talks
web project |
universe
universe1 universe2 universe3 |
archive texts chris chapman paul mccann |
archive images universe1 universe2 universe3 |