Video _____ Portella de'n mentet (work in progress...) ... yogins, freed from all wordly possessions and ties, devote the greater part of their life to making pilgrimages to solitary and sacred places, often going into hermitage there during fixed periods, for the sole purpose of celebrating the Chöd admidst the most physically favourable environments. Throughout Tibet, Bhutan, Sikkim, Nepal, and India, and even into Mongolia and China, they wander, undaunted by dangers and hardships such as few Occidentals could endure, in the hope of eventually attaining self-conquest. ... when the yogin is alone in the wilderness with no other aid at hand than his own yogic power, he must face the strange elemental beings which the ritual evokes and dominates them. from, Tibetan Yoga and Secret Doctrines, by W.Y. Evans-Wentz, p.280

Video _____ Protocols Text of Presentation (La Capella . Institut de Cultura de Barcelona, 7 -19 November 2000) Around 100 years ago the French philosopher Henri Bergson was able to define a presence as matter and a representation as perception; that our central image, the body, has a set of affections and sensations; that vision is verified by touch and action 1. More recently Manuel De Landa, the NeoMaterialist philosopher writes of biomass, meshworks, machinic phylums, complexities and heterogeneous elements working as catalysts for diversities and spaces of possibilities 2. What both philosophers describe is a pointing device, either metallic or bodily exploring boundaries, in effect what is movement and the nature of becoming. These self-organising processes or intensities of movement given the requisite velocity generate flows. We gain access to these flows through our own pointing devices - our senses, movement and technologies. One such technological pointing device is the Internet. In the last few years the Internet has generated such velocity that soon it will be percieved as being indispensible to our own becoming. The Internet has the possibility to become our central image, while the material of its meshwork and its complexity remain hidden behind the interface of the computer monitor. We exist in a material world made up of images, in the future how will it be possible for us to define experience when our central image is hidden, how can we define and articulate this potential new central image? The Internet is accessibility. This is true in terms of both putting information onto the Internet and having access to information. Key to the artwork of DogonEfff is the extending of the very accessibility of the Internet, into what we might call the material world. Via the Livestream-installation of La Capella (Livestreaming is an Internet technology which allows live video to be seen in real time), Dogon Efff wants to put the Internet into places where people go in their everyday lives. In the context of the La Capella in Barcelona, DogonEfff wants to define Livestreaming as a potential artform invested with the qualities of 'connectivity, emergence and transformation' 3. For DogonEfff, Livestreaming offers a direct confrontation with 'unintellible complexities' 4; it offers the immediacy of a new aesthetic frame; it offers accessibility for a telematic potential audience. It presences the disciplines of energy and the 'imagination of possession' 5 with a digital migration. References. 1. Henri Bergson, Matter and Memory, 1908 2. Manuel De Landa, Deleuze and the Open-Ended Becoming of the     World, http://www.powerfoundation.org. 3. Roy Ascottt, The Technoetic Aesthetic, Conciousness Reframed 1997 4. Jorge Wagensberg, Ideas Sobre La Comlejidad Del Mundo, 1985 5. From the conception of the 'Telluric Body' by Albert Vidal

Video _____ Ritualised durations DURATION RITUAL Two languages in free indirect discourse (Pier Paolo Pasolini). A system in heterogeneity, far from equilibrium… in flow. A FIGURE, A RITUAL : a pure and simple physical presence; a moment of formal display, collective performance; thought, imagination and expression in action. A CAMERA, A DURATION : a multiplicity that is qualitative and exterior (space), a multiplicity that is continuous and interior (pure). IN TRANSITION IN PRESERVING IN COINCIDING This duration is the very fluidity of our conscious life. A reality IN CONTINUATION A figure sees the world in a certain way. But simultaneously a camera sees in and sees its world, from another point of view. It thinks, reflects and transforms the point of view of the figure ___ to a figure of light A TRANGRESSION FROM FIGURE TO PURE IMAGE A figure of light imposing conditions on the pure and simple physical presence. In flow ___ the eye of the camera SEEN ANONYMOUS In flow ___ the point of view of someone unidentified amongst the characters, beyond the subjective and the objective. ___ pure form IN AUTONOMOUS VISION It is not the consciousness of the figure which is light, it is the set of images cast onto the projection screen which is consciousness. This consciousness is immanent to matter, which is the figure. It is the consciousness of the camera which changes this relationship. For Pier Paolo Pasolini, THE CAMERA IS FELT ___

Video _____ Red candles at sunset 'In rupture, not only has the matter of the past volitized; the form of what happened, of an imperceptible something that happened in a volatile matter, no longer exists. One has become imperceptible and clandestine in motionless voyage. Nothing can happen, or can have happened, any longer, Nobody can do anything for or against me any longer. My territories are out of grasp, not because they are imaginary, but the opposite: because I am in the process of drawing them. Wars big and small, are behind me. Voyages, always in tow to something else, are behind me. I no longer have any secrets, having lost my face, form, and matter. I am now no more than a line. I have become capable of loving, not with an abstract, universal love, but a love I shall choose, and that shall choose me, blindly, my double, just as selfless as I. One has been saved by and for love, by abandoning love and self. Now one is no more than an abstract line, like an arrow crossing the void. Absolute deterritorialization.' from. A Thousand Plateaus, Gilles Deleuze and Felix Guattari. pp.199 -200

Video _____ The Inferiores Recorded : London, February 1999. '___assume that the soul speaks with the voice of the inferiores, those kept down, below, and behind (113) ___that the ground of its want are the inferiores, the deepest psychic figures of the underworld whose voices void all positive assurance by breaking down, making small, and keeping low the substantiations that neglect inferiority. The souls want is given with it, like the want of Aristophanes' hermaphrodite in the Symposium, like the want of the souls in Hades…' (128) from. Healing Fiction, James Hillman. pp.113 - 128

Video ______ The Imaginal Anthropos ___ our central image is the experience of a human body in the process of entering a non ordinary condition. From Albert Vidal's conception of the 'Telluric Presence' and the integration of video as a kind of visual anthropology: the telluric body is engaged in an artistic mode of anthropological enquiry___the Imaginal Anthropos. It is to invent and experience ways of being human Recorded : London, April 1999.

Pure expenditure.

The tremor, the libration . . . (even a drum sounds melodious
from afar)

Only motion is real,
creatures are but its changing phases.
My impulsion, for a liquidation of the principle of identity.
My lavishness, for a transgression into the telematic…

Excess floats on the ebb of that flow.


Text from : "Telematic Beings (and I) . . . "