1. the way one picks up a shell on the beach

the way one picks up a shell on the beach
Helene Cixous

Because the landscape simply is beautiful,
because it exists at all.

When I started, the pieces were not joined in any permanent manner.
The only possible means was in relation to the material.

We had to lean, conceived as weight
and held up with what was underneath.
We had to walk and map and roll.

In a sense, it was “rigging,” but I have always thought of it as hands,
as extension. There is no prescribed way to go about it,
between knowing and materials and openings
and using only the necessary tools.

In this instance, one of the predictions is a tendency to overturn.
But you could not enter into them.
You could not go through them.

The discrete object dissolves into what is experienced in time.
This occurs in circles flush to the ground
and involves anticipation and reflection
and viewing edges.

The form reopens so there are many ways of entering into.
At this point it is different due to mass and processes
in any given point of understanding.

I did not want to find a way of holding in place,
which is alienating, distancing
and excessive in terms of context.

Nor does it help to add on a syntax in contradiction of sense.
Any use is a misuse entitled terminal,
which you can enter into
and look up at the sky.

In effect, it is continuous and explicit:
the situation has become.

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