✼owe✼me✼none✼

Take the doctors advice on globally effective humanism please

Right after breakfast the doctor is talking himself into research mood. Archeology yes. Way back. Twists of collective imagination. Now he actually kind of wants to know. He excitedly stumbles around in the apartment. Kissing the dog on its face. He is not sure where to start. In front of him two half written essays on the wooden table. One titled “Putting Down The Plough: Reluctance in Early Communities and the Increasing Possibility of Being Expelled“ the other one “The Emergence of Self-Surveillance: Organisation of Freedom in the Mirror Image“. That’s some material he thinks, finding himself in an unexplainable hurry to leave the house. So ready. It might be the barb wire bracelet. The finality of the gesture gives him goosebumps. Happy day.

How did he get here
left A
A was for Affluent or Afterlife
to arrive at B
He’s at B now
B is for Basics
product looking good
do the right thing doctor
call in sick
Now who be ye
Don’t be a bitter doctor
doctor

Something went wrong on the way out but the doctor can’t remember what. The only hints are some serious bruises. Oh – and that zesty tinnitus from the sound of the cogwheels eating each other. Was he a hero ? he thinks sassily. Let’s meet the world. But his arm and hand are not responding and the doctor can’t relate. Like to a chair for example – not to mention other people. Maybe the environment is just not available at the moment – he calms himself down while recollecting what this thing was about sensuality. Thoughtless gestures follow. movements that can be described as some cartography, like he was drawing ornamental trauma networks into the sky.

How did he get here
left B
B was for Bromance
to arrive at C
He’s at C now
C is for Cunning or Can’t
product looking good
do he right thing doctor
call in sick
Now who be ye
Don’t be a bitter doctor
doctor

When the doctors foot hit that bump in the ground, this certain unevenness, the lump that obviously needed care, the part he immediately considered infested, it made a sound. He looked around for someone who could attest the incident. Of course not. An area with no soft corners, just cute playground like structures, small scaled highly visionary architectural concepts, inhabited by all kinds of lifeforms and less vivid formats of them. Unsupervised creatures. Tears of Joy, as an example, originating somewhere, dripping off something. Similar to sweat.

This is necessary. Naïve force with trained hand he said to himself, feeling slightly guilty for breaking his rule to leave things to their own as long as they are silently functioning. He asked the lump: “What are you actually doing?” and answered himself: “nnnn nothing, I don’t know” He could not stop giggling. It stared back at him. No eyes, no connotation. Kind pity choked the doctors other organs. He dropped the yet to be described instrument clarifying his intention concerning the lump- and started spiraling. Absolute Certainty. Uncertainty. Embracing uncertainty. Love and uncertainty. The age of uncertainty. Certainty is dead. Peaceful. Harmful. Joyful. Shameful. A B C D E.

How did he get here
left C
C was for Craving
to arrive at D
He’s at D now
D is for Dancing or Drama
product looking good
do he right thing doctor
call in sick
Now who be ye
Don’t be a bitter doctor
doctor

The doctor is still dizzy but lured by the loudness of some vibrating rubble; litter-spitting cornucopias, fragments of performed debate between no one in particular. Creamy and colorful like the logic of cultural necessity blending into social context as accumulation of choice blending into purposefulness as inventive strategy blending into the urge of whats at hand blending into the dilution of everything blending into nothing was ever solid in the first place.

How did he get here
left D
D was for Darwin
to arrive at E
He’s at E now
E is for Entry or Evasion
product looking good
do he right thing doctor
call in sick
Now who be ye
Don’t be a bitter doctor
doctor

As if dragged by an overpowering conclusiveness, his face-cage and helmet – possibly carbon black, possibly not – is attached to a horribly slow-speeding carriage driven by some boneless masters. Somewhat very motivated stuffed animals. Its like you maybe want to know them but you can’t know them so it doesn’t matter. In the eyes of multiple eye sized mirrors for the eye he sweats. He sweats because he can’t abstract no more. When did conquest and domination become a thing.
His body begins to sway –– again. The usual, or ? The fact that we are bipeds and locomote over the ground with one foot in contact –called walking–, no feet in contact – called running–, or both feet in contact –called standing– creates a major challenge to our balance control system. The doctor admits it is a bit too difficult to tackle this and other things at the same time. He curls up on the floor. Knowing better by sucking it up. He’s still or again in his apartment.

Turn into say
some dough
today
my favorite day
excited
so I exited
so in my mind
the dainty fingers
handshake with no vigor
immersed me
or I immersed
oh I don’t know

no no
don’t dwell

peculiar and far
literally senseless
ridiculously fuzzy
ridic_ulous
literally senseless
must resist to conquer

under the impression
gonna go lumpy
man made history
a special place for sympathy
_

In other words
for what was kindly called
a long delay
of what’s kindly called
oh I don’t know
no boss wants
no thing
and yes
the trade
was made
despite
no deal

no no
don’t dwell

peculiar and far
literally senseless
ridiculously fuzzy
ridic_ulous
literally senseless
must resist to conquer

under the condition
gonna go lumpy
late state fluidity
of maniffould identity
_

Sassy pattern
chunky panorama
expectation
is ugh
expectation
is ugh so high
glopping
lapping
lacking reference
hence you have a face
analogue
to otherwise

no no
don’t dwell

peculiar and far
literally senseless
ridiculously fuzzy
ridic_ulous
literally senseless
must resist to conquer

under the condition
under the impression
gonna go lumpy
gonna go lumpy

no no
don’t dwell

peculiar and far
literally senseless
ridiculously fuzzy
ridic_ulous
literally senseless
must resist to conquer

Takes place

crisp sky
yellow sun
wind is lingering along the beaten path, in thought, disassociated from the cities organization of life and material
attempting to think the unthought route, through the gap, back in time
thinking

:this is not my world

For distraction gathering up some land-dust, speaking to it as if animate

:where to put you

Looking closer at the options

:there’s traces of bad history here and there, making a point in being bulky, inert things that know their incompleteness
that are foreseeing the coming as another day held in place by potentially being of dramatic importance

there’s eaten alive offshoots in hotbeds, conduits providing water, rivers blasting through some underground
reproductive scenes

there’s building sites, buildings in the making, on top of it all

Pausing, trying to think a place that knows no difference between old and new

:I think of myself as a lover of the park. Me in the park is like a dog in the park

Squeaking inwardly like it all having been there always, waiting to be picked up, like warm convenience, like a shirt ironed seconds ago
..
realizing that the dust needs context

:you need a job as long there is vacancy. Get a life. Take the train. Many things happen on the train
I mean it is important to participate

Assuming a stable structure of common values pointing towards ideal condition, then strangely eager
wind to itself

:you yourself should step forward

Feeling entitled while the likelihood of this being inappropriate is lurking in some background

:to all unacknowledged organisms actually out there

No one listens to the wind

:I’m talking to dust

Dust, unskillfully summing up its intention to participate, yet to understand the above mentioned on its own terms

:what?

Wind, quite shocked

:did you hear all this ?

Dust, having already left the winds stream
to itself

:when time does tidy I will be in peace. No shape, no land

It is a certain level of trust that I'm thankful for
presence comes from present
authority from distance

Keeping those proportions constant this is a proposal for a film called A Misunderstood Century that as protagonists introduces a set-up of four typed characters portrayed by individuals casted in Tokyo and Berlin on mornings that bear a certain clarity

This will be

Two young Tokyo Street Fashion Victims who in their theatricality of theatricality are paralleling the following

an understanding of identity as in transition more than less
self as solid
euphoria for changeover

And two middle-aged punks from Berlin who in their theatricality of anti-theatricality are paralleling the following

a binding neutrality of the notion of ones embeddedness in historical circumstance
resignation of aspiration
greater adventure

Contemplating the definitions of belonging to and longing for as routine or mere fiction, the protagonists will with their expressiveness in style, peaking performance of interiority, way of life, suggest a responsiveness of category within boundless happenstance.

After having been casted they will arrive in New York. The search for a suitable setting for the film followed a fascination for historical interior design of the era of the Second Industrial Revolution- also called Gilded Age. From 1877 to about 1900, the Gilded Age describes the rise of an elite society- people that by grooving in with industrialization made it to extreme wealth. The interiors of their households and private social clubs then were largely influenced by the designers of the Aesthetic Movement. The eras predominant ideal of progressiveness, on the one hand seems to be contradictory to the households interiors shapeliness, on the other hand incorporates an aestheticism as necessary consequence of moral sophistication, a private sphere in opposition to an economic complexity, a coarsening outside. These interiors, their organization and stillness, will be employed as backdrop within which the epochs resonating impact, their intertwined notions of artistry and social life collide with the characters’ appearance. The resultant density leaves no space between notions of endeavor and despair.

The protagonists- despite all determinisms brought with them and layered around them- will sit to talk. Tacit reciprocity; lacking the ability to articulate and with that articulating something beyond its recognition as lack; having no dialogue in a language which is none to frame non-descriptive content and doesn’t present futurity as necessary narrative consequence of present tense; silently reconsidering e.g. the mechanism which makes it possible to shut doors without greater effort. No voice to reveal drama behind drama.

There will be a heavy dependence on a knowledge of what is likely to be said. The atmo- instrumental interpretations of common-ground-morality-songs mixed with new-romanticist lyrics in such high pitch that one cannot understand a word- will only suggest that someone is addressed retroactively.

Possible filming locations for the gathering of the four individuals are reading halls or bigger lounges. A certain vastness of the room is important to keep a distance to the details of the singular interior objects and their function. This is to secure the audiences relative secludedness from the scenery itself. Only the characters provide the viewer with access to a somehow alien culture. They will be shown in 'Profil Perdu‘-a profile in which the subject is more than half turned away from the onlooker- and swallowed by the weirdness of the interiors visual hermeticism. Since there is no facial confrontation, sympathies will remain unformulated and unresolved.

The film will become an introspection that remains self-reflexively static in its inefficiency to provide voice. The camera will reflect that by being itself static while on the other side emphasize films promise of a just-about-to-happen as erring within unknown eventfulness on exclusive territory. After some minutes the surface tension of filmed still image gets stirred by a minimal movement of the camera adding a suggestion of a narration; It is a light headedness, a slight slump interfering the otherwise pending. I would like to keep the interpretation of this movement open to be one of the following

Loss of posture in a moment of apathy
The effect of imposed dormancy
The consequence of sweet idleness

After the camera has moved it will recover and return to a static position while continuing to film

:Life s good to you m'lady?
pouring some
pours it over cloth and table everything

:am I overdoing it

I think I'm quite overdoing it

almost calm voice
huffish still genteel

:leave it

rolls from one side to the other
complacently murmuring still audible

:last night I slept in a goose-feather bed
the sheets turned down so bravely
can't really tell what happened
it seemed I had sold alt some delete a butcher some meat
as if it happened

weird peace

:as I woke up things have changed in that particular order
nada instead of prada

different sounding

:I will get five geese
give them names
daisy or mercutia or rodney
I'm afraid they wont fly though no plot no gravity

like really dealing with it

:like there would be something to deal with
like credit to waste
like joyful

After show roaming on fields covered with plants that border the harmful
the more time spend on that field the higher is the chance of rashes
this is generally difficult to predict as nature sometimes loves being

In acknowledgment of a potential corruptness of the crop the group silently begins to formulate an ambiguous critique
unresolved like melodic ‘huh huh‘ as being touched by mind thought driving roundabout some body street for days and nights

soon swaying to and fro in crescendoing murmur

info sloppily hid more deep groans
placed beforehand casually to be rediscovered

focus on an eager figure somehow central to the dynamic

speaks up:

it's easy
things we want to see growing is kids
things we don’t want to see growing is cancer

Other voices now flickering in the background slowly replacing the approved with an equally tempting adequacy of vague insight through determinately sharp whisper

guess it goes:

cranky man
man in public
closing doors gently
you’re still empty

soon the speaker was removed from the scene
to then return heroically sobered
unbreaking hearts