exhibit b

RED NOTEBOOK (RN) p 7:

"Maybe in this particular exhibition process, it is not the viewer or creator of the work who travel in time. Maybe the artwork from 'Exhibit A' travels in time, from the 'past' to the 'present' (or from the present tense of 'A' to the present tense of 'B'. We are talking about 'PRESENCE'. Or 'Presents from the prescient PRE-SENSE'. A pluralistic present tense.)

"Unmoored into the free flow of archetypal IDEAE, the prime elements of artworks 'A' may drift and spin throughout the jetties of timespace, dispersing and conglomerating to congeal again against the conceptual netting of 

  ' EXHIBIT B '  "

The above writing presents a rubric of sorts for the process to come, in that it both explains and models a route of inquiry that hopefully leads to the direct and physical realization of the Time Travel Process.

Coming to the TT(P) from a background in the arts (rather than hard sciences) allows me the freedom of invention- I am not bound by the constraints of the scientific method, nor am I buoyed by its assurances.  I am sustained by what Werner Herzog calls the "poetic truth", and I listen to instinct, omen, and the bounties of Chance.  Such being the case, my chosen methods of discovery include wordplay, the sigil, and automatic (or at least improvisational) writing. 

Some examples:

" IN WHICH fragmented arrangements of drawn breath drop with rich plumage upon the Nowspace

  IN WHICH fragmented arrangements of dropped plumage draw richly upon the Nowspace

 IN WHICH fragmented plumage drops upon the Nowspace arrangements richly drawn

                           **************************************************

              the moon at noon

             that pale balloon

              approached

                     and offered

                     me a spoon

              thereafter soon

              I took to swoon

              and fell

                     upon

                         a broken rune

                           **************************************************

A)       Objects in the dust.  The imperviousness of mannequins.  An unexpected turn.  Doors are Us, broken glass is still glass.  What is the imperviousness of mannequins?  Turtle’s shell, turtle- the-shell.  Naked Amos relax… into this tapestry.  Almost Amos doors become us turtle-the-shell with Usage.  Relax!  Imaginary sounds are still sounds.  Broken glass is still glass.

(Sometimes broad formal criteria are delineated beforehand.  This is something from which meaning can develop.  This is something.)

B)  “Point me in the right duration.” 

 

                           **************************************************

  The sun beats down  

      The Earth is a drum

           In rivers of light

               My skin runs

                    Show me the sword

                   Oh Golden Horde

             Show me the way

          The birds still pr-y

                        'Eating flowers in the desert

                        Beautiful flowers in the desert'