NDSCAPE MANUALAandeoape on eli tevel- tine which demande a cca motural " esoe of Loan, sountion, witve Arye, nnd wo ch Snore Bacro siesrly” =qremms of thay’ potogasie, that this denani & ite response ehoald be made ag Ow contiming interpnsts- ae semana ne reowsbie: When words are 7° in photographs, with es ely tis recedelty ebviowsly beccaee Host. a shen from the an yol exter sron'7—(clase attortion to istoafune of aa thin date, Septombor 21, 1969," enoas/elarity-—annaront "aprons sion of fiat mark thevouteet” of thin ord axes to "correct proceturo") Dolton lock carefully onto the paces Aiert quences, intarep- surface at « (preiininiy) 8 parti~ Guar articwiatien of 2017 a £502 p nabire-—a sequence which io oubily _teeous functions, ae Ree nipulated inva particvier wap, one "surface" articulation perticular ond necese~ vault of eeilocs poseivilit, ary structure, ard, ao exch, intimately relat Sle crtonted raslone of ubotrectlon, aah jeonevbat sore than juet a *recore © S=pler fuga, Wee previoue-—di sorcctel Jn i Meryotalieitt'iechion, ike the interchange on the breed high-speed freeway under the wheal of « car (1966 Dodge onsen convertitle), then tthe gleasing approsches, the long straight secondary higivays with rutted gravel shoulders, fand further and furtner away, vie complex and simltaneous network of suintban driveo,, cream Gento and avenuoe---tho white lines carrying Speakers out of hearing rance. The road-land- Seepe exists, then, ap a Togion of prisary in wolvesent, eazricd to the page with real, pric mary words and actual chesical photorra VAST DEFEATURED REGION ‘the "regions" vhich mcke up the content of the ongoing system axe of Little importance in & for themselves. Bocause what we know, oF what we eotually work with when ve work at ell, is an aw freness of structures—vhen we mke abstractions fron these structures to qualitatively different Fegion of concrete re- Kinte of structures—-ve understend that whe we {ved in complex (i.e. are doing involves a minipulation of elesen’s oF Gf aaybe “objects” which are not imjortart to Us Gxcept in the manner in vhich ve aaripilste them. Tam riding in a car; the un breaks and slan- ta in through the windows. The car is full. of now fge—-the engine, the wind tearing in through ro- Ted-down vindova and wide-open vente under the dashboard. On my lap lice a canera in a leather fase. Hy bands ere at ay sides and 1 an looking tony ight cut the vindov. Books and papers 0ov- ‘or the back seat. The landscape issues out throu Th the veer sindove of the car and slips away mr GF) too quickly to be contained; nevertheless, £7 tine to time I snap a photogreph through one ‘the car's windows.woe these photographs 8T* are Sovevaivases to whieh 1 a Ea ee 6 1 photographs = a" them te = particu ae oa eo ° enor aes attacked phate — Canad abeite axanierma eWay inched Hortons tet need tae posscgruties ate My wis Aoprebee Clotena) os canny ¥, PhoTe 33 Time 4:55 0m. a in fUN OREARING Tan aa) dared wealeso through the continuous ant epparent- rer | Ay sapereeptible (at least to those rot specking tion ‘fie perticular language) input of “energy” in ift the fom of eimltaneously continuous and appar oor framente imagery. tones whatever the a (ee eM aha A phate (ral le Aim. cainet & * ‘basic and central fact. Tor) Note Aavitviens (Fertnin Bdly- LAER ALA AV mtd wei'tnsie & taesore than one minute ruming tine, begins to of the participants of th slope upvand. Ae the pitch of the incline oul- sake real-tize abstractions Se of the front doors is rolled dow, and the air Yeats under the dachbcari ore wide oren. Toe Ti- ding ccapartzont is filled with noise—' dof the tires on the road, the engine, the wi- | Bi pouring in end out of the ear, the ncise cf re passing in an erratic stream. 5 8 coloured sezvice-ststion otrect—<< 7" index carts snd o black Titissiat pent a brown cardboard eupesting £0 ere ttn railing fesmre Pinied wich siewes oe Piste oper sich are rattling violently 10, seer dhree nesvy cloth-bound bocks and the wm ats rive 2 nae. roll of Kodsk Fise-X 36-<°780” Perris, Oo my lay ie « camera in s leather Co Froa tine to tine throughout ¢ have been raising the cenera and ture through the side ¥: rough various sectors of eld ares—I ax fenerally saint Fiding yosition—feet on the £1 the seat, dack straight, facing the with ite blue and silver lovey curving vindehield. with the taking of the f de" vith the taking of the 36th (Water fee contact hint — 38 pretoras aapemutn nail) ee map, six or seven 53 The car ride" hotograph; ake & U-turn to the lert 36 protographs taken on Car Ride & 6 sroroPjoarticipant's 1A) n Blagg Gra carried 4 Bide 4. In aa as or oerephe were 8 Saat he tm anothe! Stance the sequence ¥ car Tides—than Gar So, the sequence co sae TA tered in any way, but additiondl phot, taken on Car Ride A vere inserted at nte; these photographs might have tees aut 2° on any one of a number of rides, by ay amy several different photographers (dite! cars end different drivers). It is obrint at such activity allows many variation; me refore, it should be seen that such car sanipilation ie an unending process. n another PeenAve ny —o be ndirriny inner Aimany particular tine correeyord to ‘of any of the photographs belt on ap of the rider/participant. Cer Ride B different "lencths” of time: one dns long a5 Car Hide A lasted an on 8 wristwatch; snother lasted, Bide A, until all the photographe g flipped throug’-—snslogous 20 the Not the photographe in Car fide h. The Yhrough the photographe at hie but with the avarenean of the ities afforded hin ty the tuo aiffer- “eubtly co-ordinated levels operating mobile dpnqscape. The rider did fat any SBS to make any particul- ‘between “real” photo-inages & flashing past the car windows. y able in terme of p specific atten pte at 6 vemssal" organisation or orie~ Rtstion, However, when such a youl~structure wae discarted, ali the photos tell into The car ride, although in certain teres ted to « finite time-svace length, was revea~ led in other ways ao beginningless ant endle- a8. There are many other possibilities for Car Hide B regarding media: that is, there are xx nary Yariants yousitle concerning the manner in which the "inforastion” of Car Hide A Se transmitted to Car ide B. Therefore, there are many rides to be mate munis AP HIS sTIes Consider now the immense mater of car rides I heve experienced in ay lifetine. 1 sx sitting in any one of five mundred cars, my hands at ay sides, or folded across my chest, or in the pc— Kote of ay over cost, One gm is out the windoy— one hend-—waybe my right-—ia resting on the roof of the car, out the side , end my fingers are grasping the narrow eave chamel st the edge Of the car roof; xy sr is stretched acrose the seat, etc. I have no canera—in fact, 1 as not even yaying any etteation to the landscape tex Ting ty all sround we; my eyes might be closed: ‘the radio night be on-te e aitference between 11 these nGpecific car riden deccribed abow rearent« Tho two car rides (183) ar¢ 20] pciously car rides ‘Syatonic experiences in which "re- "computation has becone an integra: part ‘the structure of the experience as @ vho2s ‘ficial anelogue—this “lendeoa- to be lesa t eystenatization ard “mitoanalysis of apparently "routing? ons eee eae tet lcioielneddabel ot “all. On the other han, this mignt be due to the “fact that very mich of vat ve genozally think “of as “normal”, “routine” activity io in fect “very highlystrictured ard orgarized both in our TMnle/nervous aystens ard in the structures ex- rior to our minde/nervous systens, in spite fect that ve have been largely unaware of eof sich a state of affairs. ee Soe een our minde/nervous syeiecs, (9 ! Bore of our continual habit of miciag Mt | ‘lono——in "real tine"—fron all our; ‘doar ro vere of Ou icetsant ont Gti our routine experiences in tems o¢:% o THievelled, multidimensional organiz 4,‘ we PS Tinetioning’of OUF entire orenniene, tac a ae are eritically avare of the revress's?tang pysten that 40 Lenguago——and vorare eget! the Liaitatione language by nature ms tt Gol to the totelity of our exreri nally attempting to gay, we become ny 2° the perancters of the ani we ovat th dot we understand the diffore: Ten eon te eaid and that which cl Tt ig an awareneos of . but levels (all simultaneous) Gaon OCCURRANCES OF DISD The @y experience in car x of infinitely expanded. et ly Precise kind of avarenc the nied for the ott "Waaning* to the cide natn, the connections’ bo ponents. he experience is" com bane tine ondless——-it ie Iie 1 Gran!" of functional Livine « Sane tize having the full density of so-called "neaninetv and aituatiors. Gar ide Bis an exercise ir Gisruption, the "pulling out of a of entioizetion, prediction, © of experivice dvened so nececoary ve! Pertioalar experience in fact occurs. fee track catabiishel in CaF sic ‘norshons’ ef the autcunaly:scet of Car Ride B. B ic obviously very 4 erent fron A in very sary vays, but 1° * Bi ee 'difference" between the two tecones ‘Anguishable and difficult to define. ™, FPitous disruptions of inege sequence (4 or written description is ixcliée G-out of the project, thet € analysis would te expla)the experience of car ride» sous Kinds of paycho-notor Cp mel Psychomotor distress or aphasia (possibly, Seen eg undergo experience in whict ached and desifed, goals HAL eted (often ac reoults). That ‘experience (these my or ney not to “art” experience—tesires or er ) are not—as auch—a workable ‘of the car rides. tion” of thie Car Ride structure -SOHe ways, depend uron "idonte; but, gt depend upon the extraction of pre {shed "results" fron the proceiure. Th no "success" or "failure" of any fart oar ride. There was no precise eni-po- gited for the oxperinent or project; ihe fgystemic interaction of tho partic~ mot something which has to be set up ficial conditions. In fect, it is which occurs particularly shen art- ‘constraints on context and asseciation splote verbal confusion) vould be a remult of thie Kind of experience only af the "logical" self-limiting atmcture of the nervous systen vere operating a t full strength ant the partic ctpant Were therefore unable to sake connections outside the bounés of “rational” "logieal™ sper cifically causal structural relationshiye in his experience. These ear rideo do not secur in "Linear" terms alone; in the nost important ways ‘they occurred in parallel or simultaneous terms; ‘the relationships the participant is encouraged to apprehend tetveen al the various components in the system of this experiential eituation are ones which do mm indeed hove c:) structures like the ones posited in the defini: tions of logical tasks. GOAL STHUCTUKES BECOME CIRCULAR "Goel structures” becone circular when the specific task outlined is ticipant is obliged to in ef stete oF condition of existence whi for him not only before he undertodk question, but tofore he consoived the task. In other words, this circular gosl-structure call- ed “Iwo Car Rides’ participant to recognize his essentially mete polie reletionship with the totality of his mm envizonsent—a condition the asarmess of which hhe might never have hai in his conscious life, ART metabolic condition of evarensee of existence predicates thet, whether er 20% the Gricting sotabolisa tetween the subject (OF gr ‘oap of subjects) and the environment is at sey betendod, ce "harwonic'=--the comtAtion | setanolion elvaye—by defini tion—obieing: Th hject of exercioos in roel-tine fnstic eeaets auch as this one is to sake the rartio= Spent fully vere on ott levele-—iusading conscious 1eetnca inthe greater oF esse =ess of this relationship. Even furth Sytarts fron the conviction that she ‘of all the participants the ‘dividual nervous ftese in the universe, including of cours: Though not necessarily alvays first ard ores ‘ost, all the other nervous systems. charted "state"-—-road——-finite-—i ‘relative separation from other landscape Mwas"—a kind of dia— some state. Yot teing charted wens = elt ee i or sso enc! —_—n pa auto ‘then ult. chart of attention = we! (Notes wim ew Ar's play — ep e+ ene ely Eee Splice Tae ck tb tert — piel pa me Borie cmap OL imetonsecin Speer FS.) (Lime anita) Jong wait ny he Simastice” Hina tek Utah ete’ Baty vet, a om CA Mai be WATER 24a fo te fermen‘anf reaches of activity between ac- “negative wonents” before of acter ized potnts. the ride cous econ, cached it with thetwcorgt or inet state of mint, e tong wait iy agiarent omarrarc ages are likewise a araph Beenie to or seat g experience of the landscepe as coni~ photographs, the writing, tie se- yeablished among the cote of photos P the proposals for future car rides Sina quite precise manner mapo tor the sis of my/your state of ration in Our continuous experience. TIME SEPARATION ( salmme ° ome ta gt tne tees dott UNDONCEALED TRANSMITTER Many artiste—whether they know it or not —sTe working to produce piecss of work for muscuns. Ours is one of the very fey cultures in which artiots have done thie kind of work. Earlier art vork in most known times/slaces had a clearly-estsblished franework(of relia ion usually) in the surrounding culture in which to operate, to which to relate. Art wo- TKS were absorbed immediately into the Living nerbranes of the particular culture. hie culture, divorced by ite use of vorie, definitions, ete. from operational sanity, has been working instead toward a"believable” verbal definition of « possible state of "sanity’—or fa justification, which is the sane-—-for itself. *vutens Ang” eeTMerefore, wnile art At wee necessary f: % ugrke of art which vould be-—-were to be~ hen) of this cul doing wee operating vi ‘0 fed verbal definitions (structural deft of themselves and th ity for the Vitles which are completel; falso to the facts of the worl fact) live. The reason for this unhappy state 4s not too conplex—in fect, it is incredib "simple" if anything can te sizple this is a oblen(i'n not treating here fo- reasoxs of apa~ Ce)once one knows how to look for then. The 6: t we use think speak Tint sheets here an entablished in a different tine (sane place Baybe who vas in the room before you got there? 297?) under different conditions regarting the linits of categories of knovledze. Because of this, language itself, can be a ction dn seeing the world as it actually does eriets out- side our todtes & our words. Language itself is not the problem: the pro- Mes lige in the function to which we jut lang tage & chvoreely the "function" to vhich we ase put br Janeuoge, cr, at least, ty our use of it. As lenin atid, One ‘must alvaye txy to be as @ Tadical as reality itself." To do 90, one must jeam to use the structure of reality itself in fhe determination of the structure of language the map of "reality" ard so the highest leves of s2lf-consciousness, bo) sume) in which wo Cin such is not Presentation of tally inex eee. "Pirst’THE COMPROLS te. vorld The dangers t | loose gravel epread out proceeding unheed ane Minds end hearts of all of us are readily ap- Jarent & hore we have the basis of the theory lof controls. across the side-rounted rearview mirrors—"the intersections on the windehield"—the truck has 4 sirror nounted on the right-hand door. The ball and socket support ia broken, and the air AWAKEN PHOTO Tor is permanently tilted down at an acute ang le with the ground From the: Gar speeding over the ronds-——36 bleck & driver's seat, the mirror is——"uselese". Pron te photo-caris, turning over, one efter the the passenger's seat the mirror offers up the jether, in sequence. Each time, the sequence x most distinct opportunities for an’ definite. The sequence is speeding over tr the road, the sequence finding point efter pa Wirt, etitching indictinguichable @——— lationships with the houses, trees, side- + lawns, poles, apartsent houses, gravel ete. Each tine a photo-card is tumed , the sane possibility arises, presents for (oar) inspection: (here was) D. ice cream vith his spoon (—holding a WY Silver flashlight to reveal a distant ) vas riding this time in a red Ford les and miles of grey roacs with “4 white lines, sidewalks (concrete | loose grey cravel oprend out), comers, and, yoo akeanoutibas'e' deat tthe n For exanple, when ding oF ut curtotoneo ote~y the ragged edge ofthe ‘acktop ripe through the mirre the bro megnetic tase in my tere Proceeding past the silvery t akes it easy to ove what ‘0 attached the enim Notes pomaas pa clear fattem~frene for the cont Nous surfaces +e ——_—_—_——— Stopped at an A & V hamburger érive-in, 1 ment or crit, the mirror vas registering a frag- e line painted on the cos ‘tunately, I didn't have tine. (see photo attaiy bs Mennae : bag of the A 4 ¥ hanbubger edge of the silvery or grey seat, the floor of the car, ay dail legs, ay socks and sting on the car floor, under which the heavy black road runs. See also film still arpet onj@ Monaco convertible, I also was incorp- Hing into the crocedure the grey 2 burger bags, the hi ‘opened glove-conpartnent door, the heavy i flashlight——the eilver-tlue sests, the sil- yard fixtures---the map, metchbooks in rei Ford truck vith the mirror continually feding the filn-—-frane after frane-—-of the white paintedline of the paverent. ERimey Sivan ETC Len-Creyt Motel — 0 rintted a then rte Brom, Film) EQUIVALENCE OF LINITED IMAGE 4, 1969, 3:15 p-m., sunny autumn efte- rain of Apollinaire's falls on a tree ‘Mindow, Technique: that is very simp- “lide or a transparency up te ee Oregon. Toronto or soxowtere vith all th slides and film taken rene 1s taken in advonoe?? Rayte aenery around ot night and project the slides inte your goo oo oe ae fer Re grees sce we ee stale ee Laying out these photographs—laying out for inspection these genuine and inense regions—-on Pee ie he able Tan pen aera 2 joar weight just Like in the photograph, <7 Siselt as sostiy expty es oeemma ae coco bilohg tas, tae, Sa =. Se paces St sees ne oo Ben rere eatin OE a nt ec es for our inspection: asphalt, heavy wh ite ard #88 in a certain context physical etc., we might give ourselves leverage toward extrenely useful. "meta-irony" = ae "generalizations", "concepts", Wer goulded steel, nylon-cord rubter, gasoline Ge, (possible to make art cut of 11’ these nat= ig —possible to meke all these materials ie Piece of eect coaceiy: wit tne Sit ok an ebatin eh of te ekt Mianeuages", far from toing transparent, es they mystification bight recone eer eee ation a scones’ SRL, © Shey otication algae heer evr sare site, gpeque—far from being dispelled ty the Buys facts" etc., these persistent cold voris & Gprssos can eke the world Giopppear. This hap Bing “unconsciously”, so to speak, cuteide any- wpparent desires—all projects then are ited toward rendering the language conscious jent, @ factor in all events, iike the Gp thick catles for the TY lights or the heavy featse Toad beneath the tires of the car. Soqui ees tnalyzeble ao a "eontonce”, or « "phraso": fytsgaatic proceso can break down the "molecule" Mite eonctituent paria; "paradigmatic" process Sigit rover structure of undefined toms resid- fing below the surface; wherever we turn, the la- + not necessarily Mingo Ruors Tans RUTTED BDOE CAPLIVE AUDIENCE sot oe se asnvarvace 4 tr to f40t8 Ti ag TENG of won Se 2eytadtresionng: “ef ner nee eet 61 Pete e088 IN camber of orl ay astro 2c aes Stevo people—Muee ee se epging agninat the well—quickly-spemsed SPT, well space two people ageinet the glass Trost ‘installation. & TOUNE cr shite blonee and 8 gold ay riaible above counter) was iP ntndispersing installe— er to eyself—anotrer 1 stooé—eix inches in lass wall, facing out irl wore dreaded ix the standard "of thia thentre: red i Eyl-ghe 2387 po eher—uniforsed—giFl whe Bis Yt answers we theo sitores ee ae Fee Oe oe Fe ences te oes ter, a at fect to 0 {eseif. Toe euiience followed qe pet fhe teetign beck ant forth—Ehey vere “oye De cenwerstte spon mast have sured wpe th 1 of mal theatre empl tel = ee "of these profe: wrt, I was thinkiné fy 2, ness I no! c {ves thinking sbout tha the girl said "Dian t among all the Photo for conparico: hater HARI or ArreNTiew c fs arrewniey /°8 ty errin't nro eal 1 4 i i + People had gravitated t0 "9, Spuce——near the door" pont Now's Diane?” Tue audience m4 eric neve Haag p thie, Tt was a vork of testy’ (ef this short te” gy,= components participants (qammmMENs) change conten Be colon conetatentiy— tits comistaned wee of the Tul) QDS -— “wore e” Bees the poencenson of swlationahi 12 Se tee mack abotact. (Teare wold, then cieastical formle possible, tae structure of te act ae ei eat by Bonnie & Diane, but, sore FID Serie the reracture of the situation wae? oly, for St leaving the bathroos, the door oF Seine wot closing, parts of the aislogee fre aie Set coaalyerunming film inetde the aan Sie cot vasif drifting into the Toon & cae cae.) few theory which manages Me oesitle variables, within "wort alt povrine walls of the zoos itesli—is tbat Fre isch ouch structuralny-orsented, portable, wpot went, flexible, contimally chaneing £ GaePATy art works would groezete. That is, we teense to have te say $0#8408 too much to Sone oe co mich ao yourible—e fev vords Shou seeeifice yet goo reed ard reed the reass of 4M ewtiter Gyre. te want 10 sake the fewest 10s Sie oyerstions ("logic", saterial-nenipulat- Tons ete.) in order to arrive at the vorcing isetic Tas ty tome "SRR, Oe ST Shuctioal” etc. (nore possible ¥gigrj,.7e ‘aclaaliaa Sater of aecrscary terme will be—a single feeicacs totter tian a thole took, 0 aingle book “hen a ahole library: yet the urge for m doesn't necessarily become an urge fy-——we Krow well exough one sentence ‘doesn't say everything ; but sore Gam eras are sore generative, and cre~ Se is speaking——the roos an ‘snd vacant linguistic regi: of disturbances in the 2: ee rion woris, ete. (farsees) oF, a blocks, “neightournoods",Now: consider this ostentatious seni. ty Sonnie and Diane (foncitly Bieriy- train . 85 @ prototype for a kind of Ee Sobty, Photo-curd, car-ride theatre. A set of yh might be taken of Bonnis and’ Hie este cae parse Ts tt Dime ir weslroom Cubicle. The photca sound bere nav inn ren oLeny he EAM coer ec nety ov! he n fmm (in hom Anion 9 Vor Mn ‘eerd stock ard arranged in var- jlopes or little cartboart pit be atteched to cu of movie thestros the sequences uf HAL that Se dncking for ¢ and cultural success ant impre Tical mode in—ae usual aphe or print photos mibar or iden stuyeo in tre"'ser uch like the one washroon. at the vir Of the Londacae drift by nd, evergroon ent Inrge green le:ters L 1 oF of @ trick, rutted gravel Bonnie and Viane ure fare carrying on a personal c Bitar cose on the chair Ube! nor——und takes fe weitresees stations, ‘the dine“Oleus Toor, the waitresses making their roun- | ds of the tables, etc.—miyte other people at other tables especially over Dizne's shoulder. Occasionally, Bonnie passes the canera to Dia ne und Diane takes pictures, poosibly including sone of the saze articles in her photos of So- mnie. At another time, Bonnie and Diane are in 4 restourant—it might be the sane restairant, 4t night be a different one. There is ro tape recorder; there is no cenera in its lesther case. Instead, on the table between then, along with the coffee-cups, the piece of peach’ pie with ice crea and the ash tray, io a etack of photographs or printed photo-carde. The pict- lures Teprece:t Bonnie and Diane in a restaur- ant, sitting at a table talking, and many in- clude view of the room of the restaurant, the carts, trees, blockhoure, Mele raflewtion QL EK Ave im Han Lhae hora con ” ack on « large lawn, « grave walk, a concrete curd, a seve wide sloping boulevani, tri @curbstone to the right, did a: with a metallic-colored station (goving) in it, a wide grassy ne crete, cream-colored blockhouse the grassy nedian, low troes el edge of the hefty silver oni 4e we ride in this moving ca @ stick of photographs which is 1) I witness a black-and-white Gedling without trareition tact. stinguishsble position to th< Ore might be imageswhich 1 canno to the experience of the < fon: images nnd visions out in seni-pudlic plac ey in an unpaved pureing Aelephone booth standing e DaA okey Soneone is standi mot inding in a bath: ‘A movie theatre lobby. In eral porteb: by. In he: e hande at ne slide PPojector. On tne door fra rnedeeted images of overt se pet Ana oul le identi rath AM a cubicle identical se io in! In we th th £0 at haGprersrerced with these laniccapes sient fect salt exten in Sea aut in care siniier or ice beaggee bs, 4 1Swaves vibrating the OM 202880 piciuzs in thie Litt! here, sitting on xy lap canera lying on the Tecorier body. This comor languages has the Plessant effect of including whatever sich? secur in these unrelated regions. Isagine a development: nuge highway billboards vith ca- ‘seive photo blomps of landscape not unlike the landsespe unvinding all around the till- board iteelf—this sassive artificial ausl- gue for the Lighway only on the highway. Sipe ee 63 die BM ane Ser fame nag ete boy oe Onn, prods oe fee phate Pit Th io re op Chen bg nar SHA n't10 sec. later highway photo : eee Gaps. buativien (aban Shan CG Se an if T should locie upon one city intersection in the ‘long wide area of uninterr- Walk sign 1st up ct the rie "ld spronaing to the right, Wth their headlights cn ‘eee ech a photograph— T telieve that vas hing at all to lem a confluence of pe fanto flat inert & o we mist concluie Sie nothing for us to ty. Hosever, 1 have g sire. @ sound of ay ‘speaking vh ae of the public transit Timed over tod otogramhs, opened ea myneit to inage Derrace Correa ee eet a thotant/andaratnd rein nese te tee ae cussay sree 19 f0r Seietnchine ty 500 By oon ra of oethore cleariy, if auch & Sicisior anna yo otabliones for tb ¢ tuning Gnterainably of card, of ériving in samy arse of cer inding ve and =er apuin those edifices of in and simtaneously definite ard age Cruinate symtolic effect—if such an actin car be defined—not that it makes too mich di— frerence---but if such a definition could be cotabliched or vere established 4.e.—sillions ind millions of acres of open carpet space, OF the undersurface of « freeway overpass 27—-to whet extent would this activity cease? (I see Hillions of men sitting eitting atunding stané- this = ing valking hands in front of their ‘qutodefini tion? ‘tinuous moulde cireulating vorld of the the remaining ct necessity structure-—inages of ‘abit cay of nakunp this question ie there vere 4 definition wtdeh vas not arr@ 2 of forgetting —as 4 te left to do as reganis My question I asked SAé photo to tum ow. mae tnd the ceogr minting the queations above Aguishable fron life stocker ettmey inatedLignt eter, ser ac described, 11 the written pages Mest 10 the tape recorders it tc, oe tre At wns epey—ard shut the door een, ess ae ee tote ye 2 Be cane eee pesos ian artist, one's needs drop be near-zero point. Ihave never teen so ¥i- beauty ote. (Note: this war truc ict. (4 Hor. 15) Ho need to exphusize i suid, ‘the transcribed sheets into the bare Ateelf—all the car rides come out "of which ernsed now 20 oF 30 car of out for ever. tio need to emooth rogicn Fie chet in sceit- Fhotozrert achieve 6 mare nen « descriptions pacsed back 0Ps be ert ipeal sensitive silver emicie, °° strip oF the eye. Set SSN ATM4 camera running records in frame after fr fame the progression of the car across a heated # daylit field of burnt grass, down a slight in cline into the dry road, passing ssall trees, heavy folinge lower to the erount—bit by bit the blue eky elipe and drifts in & out of th Viewfinder, registers hit by bit on occasional frames. Sitting in the car all vindows oren the vents under the dashbosrd wide open you turn to ‘the right, lean sopevhst on your right shoulder, feel the skin of your right ars begin to stick to the glocey leatherette surface of the sen! of the car—your light cotton Little open at the collar ete. amera you nov record a segment of this heavy gummer landscape—the edge of the dirt road (tright white in the photograph——like in a gubstitute photograph of a city alleyvay”?), the Capen’ blacks: Fagerd foliage flanking the roadside, stall. nirror-fr dark epote on the dirt in the photocraph are rocks catching sunlight and casting sharp shad— ‘ows, the povdery spikes coarse grass receeding ‘toward the undefined boundary (seen nore #36 Glesrly in serial photographs of the territory) Where the thick brush berine. car with a snall pile of on your lap in place ather case this activity c Of quite clear reminiscence o! ted car ride through the riding compartgent of the again the large car on the city tographs-—-nov just beginning t fine dry rond dust just ct th ting here appreciating all of thi self-consciousness-—the country co. dust lying on the surfaces of ti images unraveled thensetves down ¢ ented passageway to the water. ‘ve: about this tim, he said, sitting there at his sides, the back seat piled hign vit wn Banila envelopes heavy vith ph. tor: very evening he said——viy dont ve tare x Hf little ride?? Tuming over again and again, slovly, the sual pile of photos, he seesed to have 0.04 the proof he needed that his experience, »! “artificial” or analogical, vas nevertieles# zeal". It had seemed on occasion that, in t ‘ast of reconiing his awareness of the « mature of ail thet he was going throug: (to * | ‘extent, he had "crested" the oi tuatio® self), willfully or othervise, nis ferst -orcom. grasslends/facility first-order vorld would imply meaninglesoness in the first-order world # it ie apparent that this ie Just not the cxse—on inspection. The contimuoue car ride through the real worlé ch- ows no photos more or lese valusble than any others. Instead, the photo is the ime of a “nciseless" community—-cf theatre lobbies, gr- asslands, rooftops, water, isolate! riding’ com partments, etc.-—-all noiseless arbitrary syzb- defeatured—-regions. 11 the photo- Note: piece: eee = sky slipping past the tre era between my knees pois Bdow of the moving car fo. DISTANCE Barve Same young face in the photogrnsh Sossone else’s young face on ont dhe distunce tetveen the two £00!2nd encounter w/low concrete blockhouse te, lm nF le Arm 6) Le ok hanie coe Where Dodge cirri nt - nah le. + face pha pp yh ing as than * J van): Ample landecare tases Detigte pose ct fel Aeon 2 Cth coon 2here as vell eves shut ee Gace phere of taking e beneficial kets’, troe | } me control—alzo no felines Nowrer, eee Pesci o Sericatice (et isan fee os wo again T would try tone or fomstinns & analyticaliy) wickie one 7° Miers difference here in thet ye oT for your Own betefSt. Seine only for yn on your actions ther ' of fen the truck is stopped . We would apes of it not fies we close cur eyes the beckvart no fibs truck totally ceasse. Try it in tres fossil fille image 2 x 3 feet large only Like ease in the riding conpartuent cf the tru Trdeed when ve close our eyes the backvard of the x truck completely ceases. ve ae a left with the noise in the riding compar c re been Fo ezsoe ay , the tires ripping over the avenen: le cubicle wall, oe eu surface screen c f th photograrhic seque ake. some then, resesbering Sitered version—viat 1 your questioning eyeo otva Ing nage on the note) room wa ths gonerete parting garuce)- A Mihen a quiet rooe for yourself Tide aut the door all nolan cooses, yu can Seats fora little while. The inne of Of Meottol dn sosething at tho suse tine altog- thar different pvt atoluiey Senin eetion gt in ary set up cefinition, Yoo $eePhtere too satay the derinaion? ine toile You es omarsire sien") Once rou She 1 swerything vas cloar and eisple BUI Se Tne television tube hot off the eyed gon could caver bacose one le——right??7 The Been oe eouldn'— wrdered outlook— tefined for you 90 you koe scene rr oe ‘Gisordered derangedparticles mayte—ocee how contitionsd # affected——— like £108 Yon vents 0 fag Gflosing camera sitting dunbly loviy recep contimuali¥. [P07 sone Fee to tow would you knov you'd eo/ever™ Second err coat 0 autoactite Beings won place ont of the greasy fring riaht band FOE M1, photogre Geet oy ccreen the TY Lights Fiamking in YOUT 8PM lose t inte the cmore cte.——or you aitting dimly iteel eal Zeceptive to low occluded ete. maybe benefic— is ateae Te manageable abet Gal extemal tims sitting lov don losded (resolve iteelf CaO Oren es re ’ down with cheap recoriing devices etc.—-you or whether the Te . ever knew or dreaned it would be you sitting the coarse paves there looking not toc—edjuste’ eto. at all wind rushing in the dashboard 2 we aitting there roll after roll of the film in- te the little casera shooting shotting etc., try and try everyth you sitting bored in epite of your leftover Less notions about "nothing is really toring at ll* focked eli over your din fuce-—you Gust you night turn on tbe tape recorder @ cer in neving throush the Capture a novert of ali this, fer production down the sane street Betas oni Gunorets wall in a cold poring piane in the back warace. BYerson. As you go through 8 fucing fronting © Fy housing development the other. Soon the back se: small tiny shining photographs; are wrinkled and cr fi Ling across them or sitting on. raphe of sex acts sticking t mall shiny grey rectangle surfaces across her back-—-phot her thighs in her pubic hair oli Srerything stays norma)pes claiz that you want to look at the £, that the “facts” alvays exist, aod defined as conscious ayst nahip with the aly kind of eree of Laneunce clearly as possible your rel the language (representative you speak and think. As long aa You can sanipulate all out mbolte structural repreaentat (process of ignorance), then you might for yourself the possibility of Living out difficulties caused ty thet aaze avaren fand power. (Or, by the sane power, but Lack ef the sane avarenees.) Ae lorg a2 yo you can never be "free" of doctrin ioning fend definite pre-etructuring of reactions otc. in any situation, then you reserve for your Self the possibility of knoving the real fr feedom which operates in your miltiondinal Functioning totally in the vorld, You are ware of the contimial ability to suke atetra- Etioas out of concrete, "scientific" exjerie- nee, This vorld—of experience——can be axy size—vorla of infinite ved of roatways & ‘their white thick lines, dirt shoulders, vat~ ‘erfilled ruts, fractured scenes through the ‘proken sirror ete.—or a yorid altogether——— SSS ecm to supply © schesatic guide fc: fumetioning of the nervous-systex total systen)—you vant to bring 211 the together you never vill until you up the atteapt to"deccde” then le: —ptograsmstic, eystenic) icter | the pages ard cn the etrvet. pile up, stacked in Aght brow paper bags, filectri;s ‘the concrete valle—lices pf St the pre-reconied imaze-connec- bison: need ede Ae—you see a1] the page. (See a} simte tile Mi Silvery—blue Leatherette ected against dry rotice Pool) (See | nimte file tile-covered floor & sinks mirrore ete. ¢1u- Of an institutions) 42Bey ee Ore the tan of the tranaat seion pication——unders tang a ‘oF “snefficiency" is nate, there is t 0 say Nery "yell", s aie eee c instesd proceeding along flas |. Peering into the broken heavy gloss photo- tp make out inter tne through the the tack seat activity coding Fosd "worla"/icage prevercy Specific lines of conseeel Poad-variables. he Filmetrips play acrocs the Boring areas of this act yellow aneets scat: ‘totally random i coreg at = (ie peace spe p dC transparency—roadpreisting in the necharicel mexory of the Gemere—-allove you to avoid leaving arytning “inclusion” ‘ut of your schonetizations; Of whatever paosos throuph ree- fon of the “sodel" for continual occurrence is fomn an the dango of « Searloss continent systenic nature causes ie to snagine 3 a PoP lon SP ee fae 5 port-iacton fet a PROCEDURE OF & SINGLE MAW iat tat nents accush those photonr- Sthe—the denard sight cose to have you lock Gi AGvith the snail brown mania envelove uns Hl all noise ripplire scrose the Isndecspe Your brain the shiny Lnadecare yarn fielse el- Ging out o€ focus precive as formulae droppiag Halse — these place we uscd to mee! Foe larly w/plate glass windows through which a (Gureilating verld soiselons couls te chesrved- if you were to be dethined certainly against Your vill how would the results the s:oreane Gf the problen of "noise" in the real world. thow would the remuits of the testing of the fermiles differ from thcae which would te ot- seat Ae you came bore cut of your own free FEAL: tien v0 are intereoted sn ostetictiny « I tozieastic vay Jn urich we cn Ce Bo take effective control over our oun def Gf Our aituations—vhere we can aace Imake volunatrily the decisions rersreicc Of the delusion of near Ufonething at the sane tine so aifs Ne are used to doing « that which we bave alvaye (heartbeat), clear vater fenalogues for nenory and Bhusl codificstion (avateniay in B) fe the cosponents & oymbol hhas been clear (xater) since Mritten on the sand/pare. You from your typevriter-—sce nat st ie you have Fe fant otretchee- feial loan tiny joke in the ypgar ec, but into it, with theSeny human eines. Clais the thinca qualities" take hold of ping experience day to day sinute y this minute this typed word to this iy bit of transcission contis fully worksble a wast fields of language (pro- ) and many dry paths of liv- mith all your history before— full of high spe situation is out the three ° ez up on the « they are: 1.-p “ de vindov the phote~inage/;_ 8 stopping & boundedceurbs 1967 model Blue Chevrolet park~ Mat curh—amazingly encugh across the strect Piand further down another, lignt colored Chevr- yee pared at the Garb. Alsc—hovee, dashes of the vhitoline she cantar of the BU block Migits on standards, trees tect carried out in bathroom cubicle in fon oy oS ‘the rear-view mirror, Tof & "landecape in the say wire is out of place. Acr: heavenly fond plastic of 8 departing Onasaane paint). In ancthor reo! bre throw 2x3 foot grey innse: tall: here ve can see the ‘corner, swinging into it glinting in the virdox, shadows shifting at Je grey of the pavenent eally a9 the nev street ‘the viewfinder. On the cer head rolling 2 yee for yourself her long Light » Grumpling. Cn the ri ; Arrevoesbly out of the ric bright sign actually tums ‘arganize" ull the " A you think vill esd us out of | Bf binding of cur tine/space- r all the sequences into the wust sorass", where in a sessless nine of in ed eaxiety?’?—-nore the sequences esis in sense to devour itself uncer Ief these desires and rrojections—— ef thie orticuler ani lin Es The sequence io subject to Menerey lwako—with an ex;- through the ress of Bynirewe——nct beca.e: ‘Because it is About pace rey Bho interrelationsn, soBeeenraer—seeeressfeags ning nnorn finely ses of ocean’ ty i }. Leaving the ity, the franes devour lackly continuing to rae after frare to MEP calculate the & the lam.Sy ee Se Peer py A ie hee Pee pe Be pecker tre