It all begins from a premise, one that is unfounded and unfounding: wandering in the withered moor, the journeyers walk away from any and all olfactory images that are provided by the discriminative-differentiative promptings as essential grounds for orientation. As if the circumstances that they face or that they know they shall face generated within them a poetics of choice synthesized in a subtle, or tactile, sense of smell, whereby they could measure the space and its extensions and through which they could elude or embrace the situation itself.
And if they had initially possessed such a faculty, favoring first the more protective and immersive conditions in which the experience halts at what the nose suggests, and thus immersing themselves progressively and persuasively into their own faculty, so hence to intensify their principles of differentiation and spatial discrimination, sensing the altered and tragic nature of the inhabited spaces, at a certain moment they must presumably lose themselves in realms in which no direction exists, and where the horizon is always implacably beyond the convexity of a real and reachable horizon.
Indeed, knowing the unempty limits of territories, they must wander so as to preserve their state of isolation by now obsessed by an olfactory idea verging to the inexhaustible nature of the apprehended spaces, they must deny the conclusive tensions and increasingly converge, or better consign themselves solely to the indivisibility suggested by the dynamics of the seduction of the wasteland.
The way of the wasteland has as the most precarious and at one time enticing feature that of remaining adrift. The olfactory obsession urges so that no distension could be exercised, nor suspected. As a consequence, it is nearly foreseeable that a sort of practical and impatient seduction will pervade with free visions and inclinations, typical of a catabolic perspective, so that from the least fault one could rise again to a direct and immediate escape.
They who are adrift regard their own position of elusion from a systemic foundation as generatedoutside of them. There is the issue of this insolubility: the connection that brings from the sense of smell to this non-systemic nature. And there is also a glimmer of solution: the smell intervenes only laterâŠthe drifting event occurs away from any circumstance and carries no possibility for redemption. Furthermore, time does not exist after it. The smell is consecrated to a time that exists later to the extent that the âafterâ resides in the cracks of a systemic time, or else that it complies the restraining relationship time->space. If there is a time, given a space, and vice versa, correlation that presupposes an inertial process of placement, of co-action and hence generation of spatial signs, together with the hyperreal and simulated illusionism concerning the prospective. In this case, the correlation creates a simulacrum by a chain of dispersions of tension. The wasteland provides an abundant source of disintegration of the links, as well as olfactory glimmers whereby one experiences the absence of phantoms, in addition to that of visions and demons. Indeed, the principles of otherness are exuded ceaselessly in opposition to the absence of structure and they depict total visions that yet again represent a germinal acme, the seed of the first sensible formula possessing the structuring tension.
Thus, there is an agent and a hierarchical quality which is able to guide starting from a shaded wellspring, out of which much sprouts. The cycles graze each other and represent each otherâs outset, in a renaissance avant la lettre of the earthly and atmospheric processes. The fact that some of those processes become motives for automatic and ample escatological projects is not less likely than the obsessive and paranoid research of the villages where nothing is smelled.
Initially within an entirely anthropoclimatic perspective, that is to say derived from a progressing secretion of the structuring wellspring, the desertic drift suggests to the advancing one a semiosis to forewarn the reversibility of its procedural origin. The rocks have cracked in the falsehood of the flowering of the cycles and now lie stirred and warped by the wind currents; the wellsprings have thus lost the iconicity and the metaphorical character of their drive, of the progression that differentiates the landscape; they have also lost their substance and have become fiction [in the sense of fictional being, or fictional object]. The desertification desiccates the structures down to dust. And although the desert is a place of life beyond any suspicion, the desertification is always possible in isolation, in the catabasis of the dens or of mimeses. Even more, the isolation weaves on the dunes where the traces follow and indicates implacably the non-position of the wanderers, nomads and captains of their own body-ship, who proceed diagonally in order not to end their habitat-metaphor, their destructuring mythology.
In this zero, the nomads will still find their dwelling, owning nothing more than a mobile shelter, transportable and altogether temporary. Their olfactory perseverance will guide them like bloodhounds in the places of sleep, when they will dangerously come to a stop, even though not weary, inspired, witnesses of an atmospheric rarity, of the insidiousness of anything that will pass by. The empty flat moor carries the hearth to the imaginary place of non-escape, or non-desire. The howl of the vagrant, elsewhere capable of edifying entire systems of structures and services, does not echo against any vertical wall, any obstacles, and likewise any monuments. They, the wanderers, are at this moment the sole fixed points of the wide sandy whole, which pursues its fluid flow. There, its most gritty and hard feature is heralded: abnegation. They who travel the isolated environment creates their masterpiece about them, insomuch to practically distance from themselves, and their work is the secretion of structures upon the empty echo that the desert does not mirror; it is their own position, or better: their own central figure, already fringe and yet new fringe of the escape enticed by the impulse to edify, towards anything that is edifying. Therefore, they who devote themselves to abnegation have no specifications to reproduce within self the rubric of a value. They do not have the extension of the effect that the edifice produces, with the usual possibility to welcome and harbor. Their masterpiece has no time, is not resolved in time, but in the anabasis of the journey, and comes about in a flow, in an exchange, through which something initially endogenous becomes exoferous.
This is not the occasion for an investigation. Nothing is questioned, probed, nothing is solicited to evince the evidence. This particular praxis is a mythology alien to elucidations, and the nose acts as a foremost discipline to refuse the object and its structured, arborescent genesis. There prevails a sensible distrust in processes-answers of the type cause-effect. There exists no other echo but the foresight of the psycho-territorial field, prerogative of the wanderer. The extended things are moreover embraced, as if perceived within a perspective in which the vanishing point is compossible on the same level of the current inception to that which is there promised. In the desertic absorption of the wanderers, there is an anamorphic possibility of the extensions and of the distances.
Not immune from a little desperation, they who are adrift become desert in the same fashion of becoming flesh; their situation, their choice, enters them like a horizon that they experience. Therefore, desperation outlines the immensity of the land, while the latter becomes cenesthetic code. It is not entirely clear how the wanderersâ time is subdivided; how much they are in motion or fixed, with their eyes slashed by the currents or in restrained contemplation, sitting, in the whereabouts of a little psychic oasis. One gets lost envisioning what the timely moment would be to collect abundant visions; this is because there is no systematic progression of sequence of instants. All is incorporated, time above all, which is dissolved in the relentless apparatuses of symbolization. Under the pressure of the processes, colored by the persuasive portions produced by thymotic semiosis, everything becomes the same, with only minimal differences on the level of perfection, always approximated to accomplished perfection by the nature itself of the choice within the olfactory frame. And as long as this perfection is maintained in a framework of privation, the incompleteness nurtures the thymoteosis.
All this, letâs not forget, happens instantaneously, because no time interval can describe its duration except to the extent of a psychic state that surmises this extra-marginal possibility, in a practice of disavowal of the wellspring-structure continuity. Mythologies need that one speaks of eras that divide among themselves prosperities and catabolic depressions, ultimately converging to the myth of dissolution, when time needs a fatal convergence in which it comes to an end and dissociates from a state that does not allow further extensions, unspeakable. All meanings are beset by this regrettable possibility: that the support of the wellspring razed the edifices in which everything vital dwells. Certain ways and not others.. and this is pondered in the time in which one advances into the moor, a moor unexplored by oneâs orienting apparatus itself, the apparatus that accounts of the too much that is known and makes it available so that a non-edifying situation shall end, thus beginning to crystalize all sedimentary structures, also chosen. If not for those olfactory disturbances, the wanderers would have kneaded sand and constructed an edifice out of it, thus creating their own center. But having smelled, and having yearned for one more olfactory appeasement, they slowly slide back up to their traces, shaving off the dunes that conceal the horizon.
What pertains to the anchorites is if nothing else a distance; alongside its production, as a phantom complement, they have a distance that is nothing more than an empty sign. They lost themselves along a journey in which one foot dragged the other. Intentionality, or obsession, does not exclude that this distance was actually produced in an indirect way, that it is not verdict or sentence. Besides, the distance does not add anything more to the piece, but sets itself apart by a factor of this type of resonance: the distance is such that it dims the hermeneutic return of a datum. In the interpretative model itself, intrinsic to the piece, there is no reception, but production. This is the singularity of an obsession. At this point, the perspective narrows on a coaction: it is necessary to plunge into the process as far as possible only to leave to the wellsprings a field that is secret enough not to inhere in inexistence, and that is very close to a rescue disguised as a necessity of a higher order. Perhaps therefore, at a certain moment, time will resume due to the mandatory artifice of surviving starvation. Until that point, the anchorites have impersonated extreme poverty, they have exercised it, as a vocation or attitude, not sure of being able to bring to completion a conscience of a higher order. It is as a paroxysm that the anchorites perform their search for disappropriation, and a respiratory inception releases their research into the remains of apperception that makes them sentient, and they are pervaded by it.
In time, the murmur of the document survives, that inevitable hum that always accompanies the emission of signals. The ability to interfere with different degrees of redundancy of information is prerogative of what is indeterminate, provisional, boundless, and secret. The monksâ hoods are Jamming signals. Their work simply and constantly covers up their own emitting process, abuses of it, draws suspicion out of it. This way, they can modify their own induced expressions, coerced, automatic behavior. Their work wishes to be an exercise of non-sedentary relevancy. The environments having smells that penetrate into the elaborative apparatuses, escort towards the endorsement of the source of their emission. The anchorites are always impolite guests, leaving at night, wandering like ghosts and refusing sleep, in which you can find that thing which acts with persuasive means. Their state is unknown, as is their position, and interests. The wanderers roam, take shortcuts, move diagonally, tending towards production rather than freedom. The tragedy has only one objective: to venture the time following the condition, creating times over which predictability can ironize, possibly formalize no more.
It is the occasion to hoist oneself over the ground until rising and thus observing the lands in which the emission of principle-signal warrants grip. There exist models of semiotic-environmental apprehension that have little to do with appropriation, and which can produce types of inclusion sequences classified as disappropriation, dispossession, and frammentation. The opportunity is impartial towards one or the other, whilst the models are different. The time margin is described based on the differentiation of the models, through the praxis and the exercises leading, or residing, to apperceptions and productions of structures. The limits of the environment and the bodies, of the faculties and of the processes, move in accordance with exercises, and these are the more precisely effective insofar as they encircle an objective, an atmosphere, a climate, a smell.
