Space-Time (Does The Past Still Exist?) [trans_late / trans_scribe]

 

All Images: Central Leicester, June 2022

[Reconfigured & Translated Video Transcription]

One of the greatest mysteries of our system is also one of those times when you can't change anything/ and what you do in half an hour is at least up to you/ this is how we perceive time/ but what about if time is very different from our perception of the person finding it?/ I recognise this guy/ that's what we're talking about today/ the book of Exeter civic stuff is something that will work for any property/ if they offer me their packages for you too/ we think about time as something that works for everyone and every object/ if one S passes for me one S passes for your parcels/ also what do you know me by now?/ who's the first to notice that this may not be quite hard?/ it can't be too blunt to say that Maxwell's equations of electrodynamics don't change/ just like a ball doesn't change if you rotate one direction of space into another/ so because he said we just combined space with time into a four-dimensional space-time/ that naturally explains why it doesn't have anything to do with electric and magnetic fields/ it comes from the properties of space and time themselves/

I can't draw a flower written just as measurements/ but I can just manage to make straight lines and at least one line-area/ this is called the instil diagram and is a red line of constant speed and straight motion tilted at a certain angle/ the speed garage changes the top speed to light-speed by which convention the 45 degree angle to the left is only forward and backward in time/ we can only do a U-turn and there are not 3 continents outside of that space/ I'm from space in some respects also/ the dimension is clear/ there are 4 clear coordinates/ there are many ways to two-dimensional space/ because if you want it/ you want it the same all the time/ once  you have the labels on it/ there are many options/ what time is God?/ God what does that even mean?/ are there other dimensions that could explain this good night?/ no I'm afraid I can't help/ but what we want to understand is that the speed of light is always the same/ nothing/ the flight and everything/ parrot this phone/ Stainhaus's special theory of relativity is theoretical physics basically/ Sylvia Barber could be an observer/ whose viewpoint is what cramps outside of a tree/ what do you need to do as a cordon observer/ and what will sidestep close and use the word 'absorber'?/ you see the coordinates system they might use to enter/ that's the chord that you see in the coordinate system that you could fill/ yeah maybe not/ yeah maybe not exactly that/ but if it's good enough it's good enough for us/ basically it means any corner is as good as all others/ 

I have profound photos for faster telly reception/ first let's start with the finite and see why it's right/ you are probably watching a video as a hologram on a cream-coloured phone or laptop/ I suppose the Physicist's answer is my point that the ice cream has no ice now/ even if you dial absolutely from outside the few programs you select/ don't worry about how long it takes/ make sure to look at me outside and compare enough signal to light/ if someone uses that phone for real/ I'm going down a lot so I think I'll make it/ I'll come back to that later/ but it's like people use the word 'now' things happen now and now and so on/ why can't we just get on with the space-time diagram now?/ ok does extrovert mean just a diagram with an operational procedure?/ right now you have to trust Einstein/ and what he called your jump experiment/ he said the pictures are to your right and the photos are to your left/ the pictures are right if you wait the same way/ the photos have time until you remember Einstein's seconds of summer flight/ it's always the same when she can send photos to come back at exactly the same time/ exactly the same time/ exactly in the middle between the final step/ and the time it takes for you to know they must bounce/ you can say you need white to ricochet/ or even build a life/ but if you fly/ spies may be in a spaceship/ to be friends with you/ take me to buy this spaceship earlier/ in your space/ time on a tilted street does the exact same thing as you sight-sense photos/ back-to-back/ advance/ that's the moment the mirrors drive from your point of view/ to her eyes in the magazine/ in her eyes are in the diary/ sodalite takes a long time just to exit the mirrors/ you would say 'straight-on'/ 'left'/ 'just left'/ the mirror really comes first/ right after I notice Alice/ Alice really hits the mirror first/ coming from the left/ so the net effect of what else happened is not what you think happened/ Alice on the other hand moves relative to you/ shut up now/ you're wrong/ whose right?/ Alice you could say/ because Chelsea's on the spaceship/ after all the bullets come/ thanks for that/

 

it's still to come in the event of the fall of the Tsars/ you're both right probably/ the idea of Amazon is expensive/ it's not the same as mine/ write technically/ write technical terms/ that's the mountain/ the birth of the simultaneity in what's now or extremely tiny/ they are felt close to the speed of light mostly/ do you see who is knocking?/ who is knocking on the door right now?/ if you show me the speed/ tell me the speed of light/ but it gets confusing/ very confusing/ I'm not causally connected/ so if one wanted to send a signal/ the signal would have to go schematically between the lines at 45 degrees to the previous set-up with the mirrors/ from one to another/eventually the server comes at naughty dance time/ you fly from Athens and in the middle it's just you/ just you/ just one speed event at a time/ so take any two calls at once/ take two of those now/ call Leeds simultaneously/ I like eating too much/ I'm feeling terrible/ I'm feeling terrible the morning after/ that probably isn't connected/ let's say this event is the super-galaxy morning-after of simultaneity/ and add everything up/ if you can say now that what exists here does not exist then/ the Einstein score assumption must hold for everyone/ but if all the attempts you think are happening now exist and all other observers say the events happened at the same time when these events existed/ all events existed/ all events now exist/ in other words all times exist in the same way/ this is called the block universe/ it's just there/ it doesn't arise/ it doesn't change/ it just sits there when someone has a hard time accepting that there is another way to consistently combine a notion of existence without insurance/ everything I just said came from the assumption that you are willing to say that although you cannot see your experience thanks to this universe/ 

something now exists/ but maybe something other than another game/ an invincible movement of evil to be in a certain piece of space at a certain point in time/ but unfortunately all that might contradict what I did say/ as this theory works extremely/ phone India/ India is in conflict/ but if you just want to define that/ it has no observable consequences/ although I'm not sure why quantum mechanics compares the block universe to the Block Universe Committee I was talking about/ it's happening faster than the rate that you're observing it can be/ you can't be observed/ so there are snow land people/ people argued that the few in the block universe exist/ and that there is also a special moon that divides the past/ and that it has been in the present for previous flights over the last 24 weeks/ there is a video about space/ but I was actually talking about quantum mechanics/ I now have a genius mechanic on the subject of how-to's/ a genius on overlays/ and I don't intend any pending ring-sets/ I had a lot of fun at work/ I hope you will enjoy your course and learn more about brilliance/ the first 200 subscribers receive a 20% discount/ until next week.

S.I.T.E. (Midlands Chapter): Location Re-Port (M.)1.3

 

All Images: West Leicester, September 2021

Please refer to: S.I.T.E. (Midlands Chapter): Location Re-Port (M.)1.2 (Addendum)

We are gratified to be able to reveal that our hard-pressed field agent has been able to make a return visit to the site under consideration (despite numerous competing commitments), and (in response to the queries raised by the preceding survey) has supplied the pictorial evidence included here.

We would like to take this opportunity to commend their dedication to our cause at a difficult time, and to put on record our recognition that it is only through the continuing efforts of our researchers in the field, that our work is able to continue - even in the face of the general indifference which has routinely confronted our activities.  We remain steadfast in our conviction that our work is of immense valuable and are optimistic that the significance of the new insights it may one day reveal, will be ultimately recognised by a broad spectrum of the citizenry. 

Whilst these images only serve to underline the profoundly oblique nature of the location under investigation (this being a primary cause of our engagement with it in the first instance), they do confirm the suspicions raised regarding the possibility of some unobserved activity having taken place at the premises in recent weeks.  It is now possible to confirm the presence of some form of floral display, partially visible through the curtain of the main, left hand side window.  Intriguing though this might be in itself, it is the apparent appearance of certain other, even more mysterious items, glimpsed in the same window, that may actually stimulate the greatest conjecture of all.

At this time, we can offer no definitive conclusions regarding these latest developments.  Instead, we are content to pose the following questions, in the hope (as ever) that valuable interpretations may be forthcoming from members of the society, (or other interested parties):

1.  What is the true nature of the flowers?

(a.)  Organic

(b.)  Petrochemical

(c.)  Optical-anomalous

(d.)  Fugitive

(e.)  Imaginary (Mass delusion)

(f. )  Unreliably remembered/revenant 

2.  Who/what triggered their arrival, and what does this imply re. occupation of/visitation to/possession of the site?

3.  Should the flowers prove to be organic in nature, might they be/have been renewed (given the date of the original floral observation vs. expected lifespan of fresh-cut blooms, and also noting the presence of a retail florist business nearby)?

 

4.  What might be interpolated at the intersections of glazing/floristry/veiling/focal length?

5.  What might be the likely function of the flowers?

(a.)  Frivolous display

(b.)  Status-symbolic

(c.)  Bio-investigative

(d.)  Ritual/ceremonial (including tribute and/or sacrifice)

(e.)  Still-life subject assembly

(f. )  Waste disposal (aborted)

(g.)  Composting (unsuccessful)

(h.)  Gestural (poetic/allusive/romantic)

6.  Why don't you send me flowers anymore?

7.  What might be the significance of the other items glimpsed at the margin?  Are they related in any quantifiable manner (e.g. as the result of random conjunctions, or alternatively - of some targeted surrealist intent?).

8.  What does the visible portion of apparent basketry imply?

(a.)  Barter or exchange.

(b.)  Occupational therapy.

(c.)  Some form of potlatch or cargo cult.

9.  Is it possible to identify the mysterious, peripheral figurines - and what might be deduced about their intended purpose?  Possibilities include:

(a.)  Sacred statuary

(b.)  Totemic artefacts

(c.)  Car-boot surplus

(d.)  Guardians of the portal

(e.)  Condensers of (post) irony

(f. )  Crude obscenities

S.I.T.E (Midlands Chapter): Location Re-Port (M.)1.2

 

All Images: West Leicester, August 2021

Recent routine surveys have revealed a notable physical change at the site identified in instalment (M.) 1.1. of this ongoing re-port phase.  The specific details of this change, and any picturesque associations or speculations regarding causation, are included below.

Whilst these observations were made during the first week of August 2021, and filed with Central Office promptly (within the required forty-eight hour period), it is impossible to determine the exact date of the change illustrated in the accompanying images.  A combination of competing commitments, restrictions on movement and travel (pertaining to the current, on-going emergency), and the unfortunate cuts to both funding and (as a result) available resources/staffing levels, have made daily, or even weekly, survey visits to the site impossible.

Whilst we may regret the temporal vagueness that this may engender, we remain confident that the field agent responsible for filing these observations has done their utmost to carry-out their allotted duties in the required manner, and as promptly as the difficult circumstances allow.  We have no reason to doubt their estimate of the change having occurred some time within a time-frame of approximately three to four weeks prior to the formal observation being recorded.  We are satisfied that periodic visits to the site were made over the weeks of Summer 2021, but accept that many of these were of a peremptory nature - with observational rigour being compromised due to the urgency of other, competing site visits or other distractions.

For these reasons, we are content to accept the field-agent in question's identification of the earliest possible date of any considered survey prior to the observed change as falling within a two-day period toward the latter stages of the first week of July 2021.  Whist being indicative of the paucity of accurate time-coding, which unfortunately continues to characterise many of our activities, we would point-out that our performance, in this respect at least, has shown measurable  improvements  over the eighteen-month period since our last formal audit.  As an organisation, we remain committed to making the necessary improvements recommended by the auditors at that time, wherever possible.

As can be observed in the accompanying site images, the observable change takes the form of localised impact damage, inflicted to the right-hand main window of the premises in question.  Although it appears to have been impossible to record a fully frontal image of the building's frontage, comparison with the images included in the original version of this re-port leave little room for doubt that this is the same location.  In passing, we might add that we remain broadly satisfied with the documentary quality of the images filed by this particular  field agent, whilst recommending that further training might be advantageous at some future date, (with specific regard to a deeper understanding of the relationship between objectivity and subjectivity in submitted images).

The damage identified is clearly concentrated slightly to the left of the central glass pane (front elevation).  The overall integrity of the pane, whilst compromised, is (for now) maintained - with the characteristic web-form of the heavily shattered portion, and distinct indentation at its epicentre, suggesting it to be of the laminated variety.  Whether or not this indicates a greater degree of care being invested in the premises than was previously assumed (laminated glazing being generally more expensive), remains a matter of conjecture.

We would draw viewers' attention to the sparser complex of more elongated cracks, extending with a generally diagonal orientation from upper-left to lower-right of the pane.  Whilst of clear structural importance, it is also our view that these add significantly to the overall 'beauty' of this particular visual event.  Indeed it may be the relationship between these wandering, linear fissures, and the denser network of concentric fractures from which they radiate, that stimulates the primary mode of visual tension here.  It should be noted that this is considerably intensified by the bright-sun-lit conditions in which the feature was observed/documented.  The relationship between heightened illumination, and the transparent and potentially brittle characteristics of glass, is one which rarely fails to provide arresting visual effects/implications. Certainly, we would encourage field-agents to pay particular attention to, the influence of illumination, atmosphere and climatic conditions, upon their observations, going forward.

Further reflection upon the particular visual qualities of the physical intervention at this site might also suggest that it represents both a rhizomorphic formation, and a specific moment of gathering intensity, with the connective implications of the former extending away from, but also towards, the latter - whilst remaining within a clearly-bounded frame of reference.  We are also prompted to question whether the overall network of cracks might be read as both a microcosmic charting of territory, as well as a chronologically-orientated record of events.

Whilst engaging with the dimension of temporality, we should also make some reference to the visual relationship between the visual/physical aspects of the window damage (new event), and the aged net curtain behind the glass (prior/on-going event).  Both suggest specific and highly-contrasting purposes (action vs. passivity / aggressive intrusion vs. defensive privacy), unfolding within very different time-frames.  Their interaction might be read both as an accumulation of screens, or contextual filters of potential meaning, and a layering of interference patterns (obscuring/veiling).  However, in maintaining our customary suspicion of purely binary interpretations, we might conclude that 'veiling' might itself also constitute an additional layer of meaning, in addition to its obscuring function.  In either case, it might be observed that the cumulative damage represents clearly imminent lines of flight/egress, and an obstructive stratification of possibility, at one and the same time [1.].

At this stage, it perhaps remains only to consider the motivations or desiring machines at work behind the action thus recorded on the fabric of the site.  Sadly/joyfully, a lack of specific evidence, or first-hand witness accounts mean this remains a matter of conjecture [2.].  That the damage was caused by some hard or sharp (and relatively small) projectile seems beyond reasonable doubt.  That it met the glass with considerable force, is also apparent.  Beyond this, we remain firmly within the realm of 'what if's', (although further research will continue to be carried-out, time/resources permitting).  The relative scarcity of recorded gun-crime in this neighbourhood might lead to the more likely, if prosaic, possibility that the damage was caused by the impact of a thrown stone, or fragment of masonry.  As ever, some purely random conjunction of accidental factors cannot be wholly ruled out.  Nevertheless our prevailing opinion is that the distinct quality of intention emitting from the recorded event appears too profound to ignore.  Whatever else may or may not be signified here, it does seem to suggest a definite desire to 'break-through'.

Should the latter be the case, the exact motivation still remains obscure, existing somewhere on a scale that might include any one of the following: mindless vandalism (possibly alcohol or drug-related), a mis-targeted personal attack, some petty act of direct action in protest against, for instance - the perceived iniquity of property speculation (or perhaps, the site's perennial inscrutability regarding actual function), some dispute (real or imagined) between the perpetrator{s} and the property's owners/operators, or some violent objection to those activities known to, or assumed to be carried out within the premises.  With regard to the latter, we can only refer readers back to certain of the more esoteric speculations raised within the original re-port relating to this site.

As ever, we remain open to any, or all of the possibilities outlined here, and anticipate further developments at this site with interest.  We also welcome any useful information or constructive opinions relating to this specific case, from interested parties outside of our organisation.

Addendum:

Between the writing and publication of this draft, another feature of possible significance has been drawn to our attention.  This relates to the somewhat insubstantial appearance of what appear to be floral blooms in the bottom left corner of the left-hand main window of the premises (see second image above).  From the evidence presented, it is impossible to definitively ascertain whether these are actual flowers situated within the building itself, or simply some illusory reflection from the exterior street.  Whilst it is naturally a matter of some frustration that this observation should not have been made and recorded earlier, it would be yet more remiss of us not to make note of it here.

It goes without saying that the presence of freshly-cut flowers within the building itself would engender a range of new questions regarding the possible status/purpose of the premises, as well as speculations on the activities or rituals potentially carried-out within.  Thus, we have instructed the relevant field agent to revisit the site at the earliest possible opportunity, in the hope of at least shedding more light on the exact nature of these 'phantom blooms'.  We await their report with keen anticipation.  We also note that the whole potential for photography to routinely release such phantoms, is itself a subject worthy of greater examination - far beyond the scope of this re-port process.

 

[1.]:  With regard to the issue of 'layering', and the general fluidity/solidification dichotomy, certain, more sonically focussed, members of the Interpretation Committee have also requested that we append here, a possible linkage to the polyrhythms and overlapping layers of melody or aural texture evident within many forms of contemporary (often electronic) music and sound design.  They continue to regard such avenues of investigation as being on an equal footing with the more visual/literary/philosophical facets of our research.  As a governing body, we see no reason to disagree.

[2.]:  This is, naturally, no obstruction to our activities.  Indeed, it is far from unusual to overhear members observing that not-knowing is at the core of our organisation's purpose.  

S.I.T.E. (Midlands Chapter): Location Re-Port (M.)1.1

All Images: West Leicester, November 2020

Our records show reveal that the premises in question have been under consistent observation for at least two decades.  Initial identification of the site as being one of particular interest, actually appears to date from the previous century.  Whilst no specific date can be attributed to the first discussions on the matter, anecdotal accounts point to some time in the mid 1990s.  It also appears likely that the earliest formal observations were initiated from within the premises immediately opposite - which has functioned as a bar and restaurant since that period.  As is well understood, the partially engaged - but neutrally contemplative frame of mind, typically entered into whilst gazing through a street-facing window (possibly in company, and whilst enjoying some form of refreshment), is that in which our most fruitful observations are often performed.

For the purposes of this report, we have chosen to assume a date of 15 June 1995, as the nominal starting point for this particular site falling within our remit.  If, as is certainly possible, some awareness of the location predates that point in time, it is worth noting that a degree of unreliable recall often plays a constructive part in our work, generally. In any case, it is really only the actual moment of a building or other site 'revealing itself', with sufficient subjectivity for consistent observations to commence, that really matters.  As we know, this may occur without prior warning, even where pre-existing familiarity exists.  Whilst these moments lie at the core of our practice, it is also the case that they are not always formally recorded at the time, due to  the distracting nature of spontaneous recognition.  The attachment of some arbitrary date retrospectively, thus becomes a necessity, in a surprising number of cases [1.].

Unusually, for a site under such long-term scrutiny, the images accompanying this report appear to be the only ones available, and have been collected relatively recently.  As they show - the location is subject to the kind of exclusion zone to which we have all become accustomed in the current climate.  Exactly why no earlier photographs were taken, is uncertain, and one might rue the lack of accompanying metadata which might have facilitated more accurate dating.  However, it is important to note that, as the use of digital photography was not part of our process in the era of our envisaged start-date, we would remain dependent upon the accompaniment of an accurate manual record - even were contemporaneous images available.  As it is, we must be satisfied with what little visual evidence we have in this case, and in the absence of more - be prepared to take at face value the reported impressions and accounts from memory that are available.  As noted above, the inherent subjectivity such accounts may engender, may actually prove to be of more use in many respects.

What is notable, is that the premises appear to have remained relatively unchanged, to all intents and purposes, throughout the entire span of our observations.  One can only ruminate upon the general processes of entropy which may have exerted themselves over the fabric of the building during this extended period.  A degree of wear and tear is inevitable - if only from the effects of weather and materials break-down alone, regardless of any direct human intervention which may, or may not have occurred.  In this case, however, no such human activity has ever been observed, making inertia and stasis the key characteristics of this particular location.

Furthermore - as can be seen, the building itself reveals very few clues to either its original or current function.  Whilst the frontage is typical of commercial or retail premises, with large display windows to either side of the entrance door, it offers no information regarding any specific business, or other activity, which may have been carried out within.  Identifying and/or metaphorical signage are both notable by their complete absence, and the dilapidated paintwork is of a nondescript brown colour which almost seems designed to disavow any cultural association with a specific trade or generic enterprise.  The profoundly anonymous aspect has remained intact over the entire period of our involvement with the location.

It is true that, in the past, certain speculations have arisen - based on claims of a palpably 'funereal' aura emanating from the site.  This impression is perhaps magnified by a degree of discretion suggested by the matching curtains (partially water-damaged) veiling each window.  However, it is our current opinion that the 'shop' frontage possesses neither the scale, implied dignity or vestigial grandeur one would normally associate with a typical locus of the undertaking trade.  If the presence of a prominent extractor-fan unit in the glazed panel over the door might suggest some association with food retail (or possibly catering) - no other clues are offered that might reinforce such a connection.  The glazed tiles one might occasionally observe on the frontage of such food-related outlets are notably absent here - with only featureless (faux?) granite panels occupying the spaces between windows and pavement.  Again, no specific attribution can be made from the evidence available.

As can be seen, the only remaining details worthy of note at this stage, are the prominent alarm unit (with associated window alerts), and a few miscellaneous items - dimly visible beyond the (un-curtained) upper window panes.  The alarm system (clearly post-dating the construction of the premises), affirm that this site, or at least something held within, remain of value to some individual or organisation.  Such an observation might even lead to speculations about someone or something 'hiding in plain site', if viewed in a sufficiently oblique light.  Unsurprisingly, the aforementioned visible objects offer little by way of obvious connections or any coherent narrative.  What might initially resemble some form of modestly decorative frame, appears, on closer scrutiny, to possess a somewhat more functional quality - not least once the gridded nature of its central aperture is recognised.  If it is - as appears possible, a component of some larger assembly, our attempts to identify the exact nature of this remain unsuccessful, to date. What does seem likely is that the object may be designed to permit the communication of air, heat, sound, or some other equally ethereal manifestation [2.].

Also visible in the right hand upper window, is a portion of some equally unidentifiable wooden item.  Reminiscent of some piece of dated furniture (or part of), this object betrays a mildly decorative aspect - in the form of its arched moulding and pattern of parallel, slots.  It also betrays considerable dilapidation.  First impressions have suggested this item might in fact be some item of furniture; a folding chair of some outmoded design, in particular.  More detailed study raises some doubts in respect of this - relating not least, to the modest scale of the object in question.  Such a chair (were it to be such) would be suitable only for a child, one imagines.  Certain questions have arisen regarding how these items might be supported.  The most likely explanation might be that they are positioned on some form of display shelving - the phantom shapes of which do appear visible behind the main window curtains.  This automatically feeds back into our speculations around what manner of merchandise might once have been arrayed upon them. 

However, such practical considerations have done little to stifle the line of free-associative thought which stemmed from the initial notion of the wooden object as part of a chair [3.].  in certain quarters this has even led to speculation around the premises having been - at some stage, the venue for some kind of assembly, perhaps of an occasional nature.  Despite any more coherent evidence for this (or perhaps because of it), conjecture has even arisen that such meetings might have been of some esoteric, or even occult, nature.  If such fevered imaginings are attributable simply to the palpable lack of any contradictory clues at the site, it should be remembered that this is exactly what brought it to our attention in the first place.  Consequently, we choose to keep an open mind regarding such matters, at least for the purposes of this report. 

Finally, specific mention should also be made of the remaining group of items visible through the upper windows to the left-hand-side of the frontage.  Although most clearly discernible in visual terms, these are also the hardest to identify.  Seemingly comprising four stacks of strangely interlocking, scalloped elements of ring-like formation - they resemble nothing that has previously been observed at any other site.  That the objects appear to be constructed of card (or perhaps some plastic material), suggests the possibility of their being some form of reinforced, self-assembly packaging material.  Exactly for what, however - remains a mystery [4.].  One alternative suggestion (rom the same source as the 'esoteric assembly' theory, alluded to above), is that these almost 'crown-like' items might constitute a variety of ritual headgear associated with such a congregation.

Conclusion:

Whatever the real conditions or circumstances relating to this site may be, there can be little doubt it represents one of the most intriguing in our current catalogue.  it is our recommendation that the premises remain under observation - without time-limit, and that any significant findings or theories relating to it, be included in future reports.  What does seem undeniable, is its status as a distinct lacuna within the commercial, recreational, or psychic activity of the surrounding street.  as such, it clearly has the potential to represent some portal or egress - of exactly the kind to which our organisation has chosen to identify and exploit.   

[1.]:  Current thinking on the subject suggests that, in many cases, this may actually be a strength - rather than mere evidence of sloppy record-keeping.  Certainly - as is generally now recognised, an acceptance of the flexible and relative (as opposed to reductively linear) nature of time is key to our activities.  In this context, the recording of specific dates, whilst nominally instructive, may also be regarded as something akin to dropping sticks into a flowing stream, (or perhaps - marbles onto a blanket).

[2.]:  Such oblique speculations are, it goes without stating, to be encouraged wherever deemed appropriate.  We welcome any future attempts to join such dots as may emerge from continued scrutiny of this site.  Any such theories - deemed to lie within the stated parameters of our wider project, will be appended to future drafts of this report.

[3.]:  It seems pertinent to remind ourselves here, that (often mistaken) first impressions (and the often highly fictional narratives they may provoke), are as important an aspect of our work (if not more so), as more considered research - carried out in a less subjective frame of mind.  Clearly, we should remain vigilant to the danger of our activities from degraded by mere 'facts', whenever possible.

[4.]:  Suggestions (however fanciful), are obviously invited. 

Pretty, Vacant 7

 

All Images: Central Leicester, December 2020

This piece takes the form of a meticulously-assembled diorama - describing a section of unspecified, post-catastrophic urban territory.  The piece is largely constructed from modular, architectonic elements, which form the stable, orderly grid on which the city is established.  Individual components have been organised within envelopes of standardised dimensions and format, to create an arrangement of blocks, segmented by the network of communicating channels and pathways running between them.  

At the lower levels, we see that this basic structure appears relatively stable.  However, as our eyes travel upward, we observe how forces of entropy, disruption, and 'problematic events', increasingly serve to randomise a once-orderly scene.  Our gaze travels across the details of a chaotic terrain of scattered fragments and churned debris.  The networks are broken; the grids - destabilised.  We witness the breakdown of boundaries, the bursting of perceived containers of civilisation, and the resultant dispersal of the previously ordered contents within.  Amongst the already familiar components, we discern how elements one might regard as unrelated (or at least peripheral) to he city's overall formation, are pitched into the mix.  The new interactions thus created are both unfamiliar and disturbing, and we can only guess at the new situations of disquiet playing out in their shadows and concealed recesses.

Cleverly, this scene has been designed to be viewed from multiple viewpoints.  The play of our own perceived reality across the immediate glazed surface leads to inevitable reflection on the relationship between what lays both within and without.  However, we should also ensure we take in the view beyond too.  Seen in this manner, and from certain angles, a potentially perplexing scalar continuity between interior and exterior features emerges.  The separation between depicted events, and our own 'situation' (macro vs micro-crisis) becomes harder to discern.  Ultimately, we are invited to consider whether this exhibit presages events to come, or constitutes an instructive diagram of the mechanisms of disaster, and a model for their effective negotiation.  A third possibility, of course, is that the piece simply represents another, stylish episode of post-apocalyptic [1.] spectacle, of the sort to which we have all become addicted in recent years.

[1.]:  An oft-misused terminological impossibility - as should surely be recognised at this stage.  The degree to which our culture now recycles escapist visions of its own collapse, is clearly of direct relevance here, and a matter worthy of discussion elsewhere - no doubt.

Pretty, Vacant 6

 

All Images:  Central Leicester, December 2020

1:  What is the true relationship between consumption, control, and preservation?

2:  Can you have your pudding, until you've received your just des(s)erts?

  

3:  Does the unusual and fortuitous conjoining of multiple favoured motifs promote unification,           or multiply complexity?

4:  How might meaning and serendipity intersect?

5:  Are some monoliths hiding in plain sight/site?

6:  Do Ghost Sentinels exist?

Pretty, Vacant 4

All Images: Central Leicester, May 2020

Here are a few more images on the theme of vacant commercial property.  Once again, they were captured in the centre of Leicester (and separated by only a few metres), on another of my recent two-wheeled meanders through the city's relatively deserted, locked-down streets.

Being the erstwhile premises of a hairdresser and a bar, respectively - both are highly representative of the kind of enterprises forced to close during the pandemic.  Slightly ironically however, I know for a fact that both were empty some time before the current crisis.  What intrigues me in both of these cases, is the A4 missives giving notice of future intentions.  Clearly, the application for a bar license is more than a little irrelevant - for the time being, at least, whilst the move to an alternative salon nearby seems equally futile, even if the coiffeurs have "took over another business".  

So, while not actually documentary in nature, these images are still pretty symbolic of our current plight - I guess.  In particular, they seem to speak of an optimism that (with hindsight) feels more than a little misguided.  "When things get back to normal"  and, "When the pubs re-open" are phrases I hear pretty regularly these days, and it is true that the British  lock-down appears to have relaxed a little (officially), and frayed a little more (unofficially), in recent days.  However, it seems inevitable that the backwash from all this mayhem will cause more than a little turbulence, for years to come, both socially and  financially.  Something tells me 'normal' might no longer be quite what people expect.

  

I do need a haircut, though (and a social drink wouldn't hurt, either).

Pretty, Vacant 3

Central Leicester, May 2020

This vacant little beauty should have made it into my previous post, really - being both food-related and framed in red.  Still, better late than never - and it's definitely too attractive to ignore.  I wasn't even sure if these premises really were vacated.  Numerous take-away food outlets have continued to function throughout the Coronavirus lock-down, and that glowing fluorescent tube suggests some form of occupation.  However, closer inspection  of that barely-legible hand-written notice confirms this is yet another site for rent.

Once again - I don't know if all this is actually virus-related, of course.  However, perhaps subjective visual resonance and implied symbolism are more important than the actual facts, in matters of the art. 

Pretty, Vacant 2

All Images: Central Leicester, May 2020

Here are a few more images of vacant or inactive commercial premises, captured on another of my routine lock-down bike rides around Leicester.  Although these were encountered at two separate food-related locations - it's striking how they're unified by their red-painted framing elements, and delicious paper-based blanking strategies.

I'm not sure if it's exactly healthy that I'm starting to almost enjoy the slightly post-apocalyptic mood suffusing the city centre, in recent weeks.  In my defence, subjects like these windows were well represented in my photo archive, long before we'd ever heard of Covid-19.  It's not even certain that the inactive state of these premises is directly virus-related.  Years of economic uncertainty and Austerity have been stimulating such phenomena for years, after all.

Nevertheless, they do seem to capture the current atmosphere, I feel.  As I cycle around the eerie, almost deserted city streets, I can't help wondering if such economic inactivity, and the vacated spaces and blind windows that result, will become ever more prevalent  features of the urban landscape 'once this is all over'.         

Pretty, Vacant 1

West Leicester, April 2020

Like most folks just now, I really value my occasional little trips out of the house under the guise of 'statuary exercise hours'.  Of course, regular circuits around my local environment, with bike and camera, have long been a part of my creative process - so little has changed there, really.  The bike is, by it's very nature, a kind of social-distancing device, and also allows me the opportunity to accelerate rapidly away from any potentially viral congregations I may encounter.  There also seems little harm in pausing for the occasional mini photo-shoot - providing I'm not impeding anyone else's isolated progress.  In certain situations, there's even some benefit in no longer having to wait for traffic or a crowd to disperse, before I can get my shot.  Whilst clearly unsustainable, and hardly a situation to be celebrated - some days it can almost feel like this crisis was designed for us slightly introspective flaneur types.

One (admittedly selfish) downside, is that the large construction sites I've been regularly visiting, in recent months, are largely at rest now.  On most sites, work has markedly slowed - if not ceased altogether, and there's a limit to how often even I can photograph the same unchanging chunk of steelwork, or expanse of unpopulated scaffolding.  The same old circuits can start to pale a bit too, when one is trying to combine a bit of much-needed exercise with equally vital mental/visual stimulation.

As a result, my latest excursions have seen me increasingly varying my routes, and the photographic subject matter has inevitably started to re-diversify as a result.  Except that, of course, the latest crop of images you see here, is still very representative of the kind of thing I've been drawn to all along - when not staring at building sites.  If anything, these blank windows and vacated commercial premises hark back to the stuff I was fixating on around 2016 - and which culminated in my contributions that year's 'A Minor Place' exhibition, with Andrew Smith and Shaun Morris.  My concerns at that time focussed on ideas of absence, vacancy, lost voices and forgotten meanings, and it all gave me massive scope to indulge my love of vestigal marks and emptied-out imagery.  The largely neutral palette of these shots seems to chime with that too.

'Untitled (Change of Use)', Mixed Media on Paper, 30 cm x 30 cm, 2016

'Vestige 5', Acrylics & Mixed Media on Panel, 60 cm x 60 cm, 2016

Central Leicester, April 2020

Back then, the regular evidence of such subject matter which I found in the field, seemed to represent the seemingly perpetual backwash of 2008's economic crash, and the ideology of Austerity that persisted in its wake.  In the context of this latest catastrophe (Capitalist, or otherwise), such motifs seem to acquire a renewed relevance.  It's always tempting to think one should be working with great urgency, on some definitive new response to any major societal event - but it occurs to me, there is a danger such actions can end up feeling hastily conceived or insufficiently digested.  Perhaps then, it's just as valid to dig out existing work, to check whether some new relevance may have accrued, whilst reflecting on events as they unfold.  If nothing else, it might be instructive to shift a few boxes, and have another look...