a synthetic Beckett, "through and through".
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Replying to @lesoiseauxduml @QueenOfTheWilis
The ending is just Beckett on lysergic acid as I used to tell Florian.
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Replying to @NegarestaniReza @QueenOfTheWilis
also the opening, somewhere between wittgensteinian apocalypse and beckett, newly awakened to the sound of something moving in the vast ruins of meaning.
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Replying to @lesoiseauxduml @QueenOfTheWilis
Three white obelisks, a pink ice cube and lysergic cloudspic.twitter.com/PiezE0sJiH
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Replying to @NegarestaniReza @QueenOfTheWilis
a pink ice-cube enters, it seems whole. the light excavates under the being-there of the pink: -how is this infiltration possible?
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Replying to @lesoiseauxduml @QueenOfTheWilis
Engineering problem, we had to use different materials in the composition the pink cube to simulate that effect.
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We had to count in the approx time for the cube to melt on the stage so the text doesn't end before the whole thing melts.
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Replying to @NegarestaniReza @QueenOfTheWilis
hell, that's deep-ecologistic logistic.
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Replying to @lesoiseauxduml @QueenOfTheWilis
I had this idea that we should use a pedestal made of a synthetic transparent metal but it was just too expensive. Fredric Malle did a great job, he made a perfume with just eight molecules for it to be budget friendly. More than thousand molecules go into a regular perfume.
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The whole point was complete sensorial and material syntheticness. Florian managed to convince this European paper factory to contribute these synthetic papers for the pamphlet which were extremely durable and hard to be torn.
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Replying to @NegarestaniReza @QueenOfTheWilis
seat "numbers" were: N.O.T.H.I.N.G.I.S.G.I.V.E.N
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