Newton looks at the little vacuum separation that occurs in liquid film between two glass plates, like a bubble on a microscope slide, a little vacuum. Newton says look at that… and he goes a little into it, no stone left unturned…
It seemes therefore that the
water cannot nimbly enough follow the spot R, but leaves
the space S empty to bee possessed by Aether alone, untill
the water have time to creepe into it.
Machine, we need a science historian, we need a history of the rhetorics of science-ician, aye, this time in search of the history of scientific writing up to Newton. Who was he reading, what style were those works written in, what is his precedent for the careful explanations he gives – clearly to an impassioned reader, and not simply notes to self? Who was Newton writing to? a peer recreating the experiment? his own journal? the mail slot on the door of omniscience? I make it me. I read the notebook as a map of the studio Aethers.
‘To the Diamonds’
Open, open, I shake my thoughts like a gourd, listening for water. I am thinking of Newton’s experience, and that I must remember he has a math mind. I make my own picture of his thoughts without benefit of math and walk into the work at the shallow end, circling in, making last contacts with world, all my other lives pinned closed for a week and a half, the descent is always rocky, with phone calls and tedium, but they must be attended or else life on fire. the things we do because they must be done, and so we do them in order to have gotten them done.
I breathe a space in my mind so that the work can pour through, carving my thought like Gordon Matta-Clark took to a building, or anything else for that matter. At this brackish time, my mind winding up all preparations for the theater installation today, finito until installation day, in order to enter Starwalker without looking back over my shoulder. It begins with the fortune meditation. Which is first a meditation about giving by way of allowing the work passage through me, ffffortune telling, again… I feel them as soon as I say the word fortune, buoyant and invisible under my hands waiting to be written from under my palms, rather than from my thoughts, or my arm.
I am open and fully ready to do the work of the performance installation. I say these things with my eyes lightly closed, breathing the words back in through my heart chakra and out again, after I say them, which swirls the words with the intention, for the two-part formula. I feel none of it working, doing anything. Instead I find a space right in front of me which is always the same, and anchor myself to the present on it.