I am likely to be here, and one of any amount of cameras is initially set with a narrow depth of field, blurring out a selection of irrelevant information. Each thing — and I must add, there is a number — has been prepared and is now running smoothly, just as I think is expected, or even to some degree say supposed. Activities take place: situations emerge, sustain each (or some) other, and occasionally they manage to dissolve again. Though some positions are quite literally grounded, and others attempt escape towards a somewhat misunderstood idea of a higher dimension by deploying mechanically assisted HD levitation-systems, there seems to be a common consensus to insist on the subtle ways of here and there.
An upper low-tier village idiot cruises through the scene on a neon-green MTB, abruptly moving not-along patterns given or constructed depending on spiritual subscription-plan of the day. This style of movement is designed to evade attempts of measurement made by a life-stylist who is standing on a corner across the street, equipped with an above-average-sized-ruler, scribbling faster than life seems to happen while slowly slurping a seemingly infinitely long spaghetti coming out of his pocket. I look up at one of the levitation systems with its glossy surface, and while trying to imagine what life might be like inside, I catch the reflection of the hand-drawn sun, fixed in its usual place up in the upper left corner.
At a (or possibly b or c) very unspecific moment in time, within this non-theme-themed environment, not just one, but two things happens: the first of which can be described as if anything, not necessarily as in whatever but as in as if the thing itself had become secondary to the conditions of its own existence, as if they simply don’t care. As if the tolerance zone has expanded and now this new attitude of the conditions somehow seems to overwrite the polite choreography which usually keeps them within speaking distance of each other. It is precisely this displacement of dependency which simultaneously allowed the second thing to happen, about which can be said a lot, but the important point is that this is now a twice-upon-a-time-style situation.
It is exactly what someone would call peculiar how these things happen, one moment you feel struck by an amount of emotions, they put you into a temporary psychosis, you enjoy it and mysterious activities take place. You might even go so far as to write an abstracted text from it, but in the next you have the typical it-was-all-a-dream-experience. However, in the grammar of the situation one must install several pairs of eyes in different altitudes as eye-level is now a question with multiple answers. The other day (any day, really) for example, someone (or someone else) was faced with a choice which had the power to change their life forever. They made a (or another) decision and from that moment on their reality has been 100% new, which of course symbolises fantastic, amazing, super good and all that kind of stuff, but what if, seen from a different position, only appears as an ant walking in a strange way, and is quickly forgotten? We might expand the hollywood-model which has the usual limitation of representing only a single intensity per unit of time, and by which this so-called work of fiction: “vague street scenario in that German sense including life-themed activities as if anything” is certainly not structured: We can allow the timeline the freedom to represent multiple intensities at a single point in time, which means that the graph becomes a fully non-quantised free-form space where we can draw whatever we like.
But just as we find ourselves highly immersed in the engaging storytelling from the current narrator, we loose track of the calculations as some new fucking camera starts panning in a deliberately slow and slightly annoying way. It might be a reaction to the timeline-claim, making us realise that it has some difficult implications by forcing us to feel its weight in practice. The camera continues its movement for a while, turning more than 360 degrees without ever presenting the same material more than once (we can take a moment to admire the work this must require behind the scenes). An air diffuser silently starts emitting the smell of the moment, changing the pressure on set which allows the general depth-of-field to soften. The misé-en-scene complicates and several new details gradually become visible. The camera now slows down to a full stop and not before long we are presented with a new blissful scenery:
A line of variables dressed up in the rhetorical style of depth, commonly found here and there and anywhere. Each with multiple suits layered on top of one another, and milky drops of cold sweat filtered through their freshly varnished hair crawling along sharp cheekbones. One says something: another replies, each still with the gaze fixed in their respective allocated directions. I feel the inclination to assume coherence even when not directly experienced, and i know you feel it too. I imagine giving in might feel comfortable but please stick with me here and listen carefully. “I have placed a folded piece of paper in the pocket of one of the variables. There: that one who was just doing a miniature version of the infamous boing-boing-boooom-trick (long articulation) and the tie with one to two hours printed all over it and such — yes, that one (we giggle nervously). On that piece of paper is a set of instructions which help him get going and it reads as follows:
- everything is running normally, city-routine-style
- two things happen to happen at one moment (don’t worry, they also happen for other reasons)
- later, the narrator remembers the moment as emotionally overwhelming, which is completely okay
- blah blah blah, the situation is rhetorically inflated to simulate weight
- life continues taking the form of life-styled, life-themed activities
- the whole situation is evaluated from another position appearing slightly superior because of supposed lack of direct involvement,
- This lack of involvement its tie to new trending ironic distances is discussed among the audience”
You remain still for a moment, but then to avoid drawing too much attention you quickly look at me and do that small twitch with your mouth signalling it’s time for us to separate. I turn around and casually start strolling towards a destination chosen for its ability to disguise my walk as functional rather than providing anything relevant for the overall readability of this. I catch a glimpse of one of the camera-operators reflected in a passing rose-gold iphone 24 and it certainly doesn’t calm me down.
Someone starts not questioning something in a way which reminds me of absolutely everything i have ever forgotten, and i take it as my cue to withdraw from the situation, from here the text continues elsewhere… but as I try to exit in this nonchalant manner, the village idiot comes out of nowhere on that MTB, now orange. And in a very elegant and seamlessly continuous sequence of movements, he manages to position himself very close to me, and almost seems to slow down time as he whispers: dream harder.