Work In Progress: 'The Castle' Paintings

 

All Images: Work in Progress ('The Castle' Paintings), Acrylics & Mixed Media or Acrylics Only on Panel,
60 cm x 60 cm, July 2022

The images here represent a group of paintings (or hybrid mixed-media pieces, technically - in the case of the first two), which have all been simultaneously in play over recent months.

Despite the superficial differences in approach, it shouldn't be too much of a stretch to recognise that these four pieces are all actually variations on the same subject. Indeed, it's one they share  with 'The Castle 1' (completed in April of this year). Perhaps less obviously - they can also be regarded as tangential off-shoots from the larger 'Territory [Lateral Flow]' painting that I completed in February.

If this slow-but-steady accumulation of work can be said to represent some form of map (of time - and of numerous layered subjective associations, as well as of actual delineated, physical terrain), then it is one which is constructed only as a consequence of potentially open-ended exploration. It might be said to be in a state of constant becoming - just as repeated visits to (or through) the same locations reveal a potentially limitless sequence of experiences, associations and emotional responses. It soon emerges that there is no 'the same' about it - however familiar the route may superficially appear. The intention is not to follow any pre-existing chart - be that as a progress from A to B on a spatial plane, or in pursuit of a priori thematic/theoretical destinations.

Any traveller's tales, chance encounters, or indeed - lessons learned from all this, may (or may not) be recounted at some undetermined future date. In fact, it is my suspicion that the exploration of perpetually unravelling loose ends might prove far more revealing than any serious desire to tie them up.  On a spherical planet (and indeed - in a universe in which time, space and information are all fluidly connected) can there not only ever be one map, in reality?

Whilst each of the four pieces shown here might be seen to have reached a certain level of 'completion', my own feeling is that they are all still very much in a state of immanence. However, in the light of at least some of the above, it seems perfectly reasonable to show them in their current state. If each can be said to have already undergone a degree of mediation, my hunch is that they can all stand yet more. 

Also, for anyone who may already be joining-up the literary dots: it's only fair to remember that K. wasn't exactly one for reaching definitive conclusions either...

Negarestanian Diversion 4.2 [S.C. trans_script/trans_late (aug_mented)]

 

All Images: West & Central Leicester, June 2022

[Augmented, Reconfigured & Translated Audio Transcript]: 

I don't judge the crack-heads, the lovers, or the painters, as immobility is usually associated with the symptoms of memory gap paralysis. In that case, a person cannot access the memory (if the memory gap makes it difficult to access the subject). It is also marked so that it can be accessed from the other side. Can you comment on how to access these memory slots?

The subject and character of the questioned subject is not the soul of the thing (nor of anyone). If this is unreal, and kept in memory until 16.00, memories of Holzer gates and reverse access points are remembered. we all have our vices in this life, trying to break us. Correlations of behavious and patterns of external memory below to the outside.

Animals smuggle and retrieve non-human data in an attempt to remember themselves (including recall of external memory gaps with the function of time spent in space with the whole group). The dentist is in no hurry to sleep in memory. Remembering the world is to bring home the void.

(With thanks to S. Chhana & Anon.)

Negarestanian Diversion 4.1 [E.M. tran_script/trans_late]

 

All Images: Central Leicester, June 2022

[Reconfigured/Translated Audio Transcription]:

Usually, the university to remember is related to symptoms of memory hole paralysis. In which case, the subject is unable to access the memory of the memory holes that caused the subject's access problems, because they were specifically designed to be accessed from the other side.

In this sense, the memory gaps are not available to the subject, and are independent (because they are outside the subject and do not concern anyone). If retrieval is unrealistic and useless, in terms of the memory hole, then there is a reverse memory gap at the gate (and access points). Then other access patterns are memories that belong abroad.

Here are channels for transferring and retrieving data from the other side, and making a human  or mental effort to remember what we should not (from the outside too). The memories of memory cats (in a short time) work like a full vessel. None of the creatures whose dreams do not, attack. The holes in our global memory are the way back home.

(With thanks to E. Marshall).

Negarestanian Diversion 4.0: Memory Holes

 

All Images, West Leicester, June 2022

"The inability to remember is usually associated with the paralytic symptoms of memory holes; in this case the subject is not able to access the memory. If memory holes cause such accessibility problems for the subject, it is because they have been specifically designed for being accessed from the other side. In this sense, memory holes are accessed not for the subject and its integrated self but for that which is exterior to the subject and has no self (no one). If remembering is unrealistic and futile in terms of memory holes, then inversely memory holes are gates and access points; they conduct remembering and other modes of access towards a memory which belongs to the outside." [1.]

"If memory holes are channels for trafficking data and retrieval from the other side, then each human or subjective attempt to recall involves an invocation of, or a stepping into the memories of, an outsider. Memory gaps, with their Space-Time lapses, function as a ()hole complex through which nether entities seep, rush toward our world; memory gaps are the instruments of their homecoming." [2.]

[1.] & [2.]: Reza Negarestani, 'Cyclonopedia', Melbourne, Aus, re.press, 2008.