No image no track no sequence no discernible context no structure just contrast just action just movement just breath. A circular urge. Modular attention. An epoch defined across a set of organs. Modular attention. The invention of your progress. Modular attention. Progress is your own particular rhythm of loss. Sensational loss, as in sensations, as in tactile, as in the distances it takes to return to a feeling of nothing. Take a record of this data seriously. There are schema to facilitate. And the standard is a powerful schema. The familiar is a powerful schema. The severance is a powerful schema. The reparation is a powerful schema. The permanence of any state — powerful. There’s a personal subordinance. There are schema to facilitate for you. The circular urge. The urge is to have the urge. Is to comport towards the urge. Is a process of urging. Is consumption.
As in appetite. As in a prepared state1, extant before and then received into us. As in a hum of gathered intervals, when the act of gathering is an act of primacy. An act of coherence. An act in any order said to cohere to the next. Any act. Any order. The fact of an order at all. The fact of a word being one less that wasn’t. Being in any unresolved spaces at any given time, threatening. With no standard but state. By no practice but state. Through no process no discovery but states and states fulfilled. The shape of the fulfillment of a state. Every shape irregular in exactly the meant ways and the interaction of them to build towards some others. At every point chosen to accumulate. Urging to accumulate.
open sentiment open travail
open process bald comprehension
The coagulant of these is a powerful schema. An invitation to schema. An instance contingent only on the ability to receive impulse. An instance meant to alter and affix that impulse so that while the urge is fluid the instance has captured its shape at a given point in order to persist. Persist wrongly, of course. This is a misrepresentation, of course. The urge has moved on, of course. This is its point.
There were other points however. At one point we could choose to go on to progress or accumulate. At one point we could choose to begin in the first place. And imagine not choosing. How would the schema assemble? How would the appetite express? How would an act, any act at all, come to know its shape? Only in organic states of which input received. It could be ideal. But there would have to be no urge. And there would have to be no impulse. And this, we think, is much to ask.
An unfortunate unattended by the columns of their life. The idea of an unfortunate subjected then to the gathering intervals, reflectant of them, the intervals, until they themselves are constituted to the same rhythm, now of interruption.
And where this rhythm touches and discords, these are ripe for schema.
For moments of weakness and moments of strength.
For debonair and revealing gestures.
For the pregnant pause of an advancement of any kind.
They are not simply happenings, they are concordances, concordant with a revelation of character. This process fulfills schema. Schema which is pleasurable. Schema which is pleasure.
The pleasure of what is accounted for, the process of accounting. Of having a function prepared for every constituent part. Knowing what goes where and why, what for. A constituent part is a pleasure. A non-constituent part doesn’t exist. Is a falsehood, or illusions. And what is gained via the illusory? Many things, though not pleasure, not in comparable amounts. Only the uncomparable. Comfort, perhaps.
A record is created below notice, beyond notice, a record is creating itself. An index of what the rhythms have effectuated. Any record is a personhood.
The moral dimension of a pleasurable schema. Its locus among the spectrum. Its movable capabilities. As the schema is being located, can its locus on this spectrum change? Can it clarify? Can it comport? These questions are the tension of beginning at all.
The political dimension of this schema, too. In all ways, too.
The moral dimension of a pleasure object. The political dimension of a pleasure object. The aesthetic dimension of a pleasure object. The monetary dimension of a pleasure object. The etymological dimension of a pleasure object. The heritagical dimension of a pleasure object.2
A locus clarifying along these spectrums at once. Favorably, favorably so.
There are tensions in the history of this.