The Evasive Principle

by Lewis Gesner


Evasion firstly implies moving away, which you may further break down to moving


and direction.  Moving, energy, motivation encapsulated in direction, extending


from a primary, atomic or undigressable node, which is the principle of evading an object,


whether physical, hypothetical, or simply invisible. (perhaps, fictional) Evasion as a


motivator suggests perhaps pursuit, perhaps, paranoia, perhaps, instincts of predator and


prey, and perhaps a fleeing from the self as the ultimate self hunter and self killer.


(As hunter and prey, the self would be infinitely illusive from the other, knowing itself and not


knowing itself at the same time, self deluding and all stalking with the ability to be completely


unaware, while supernaturally sensitive; the perfect failure and highest success.)


These aspects of the variously divisible topic of Evasion may represent approaches, modes


of style, technique and disciplines that may be employed or grouped together and distinguished


after the fact of their discovery, to the end of generating a body of examples to


illustrate an ironic state of subject form and content in which nothing can be talked about,


no framework may be constructed and where no freedom may be allowed, so long as


all aspects present are imprisoned by the need to move away.



Dependency and independence too become two vital digressive forces which, as with any


other digressive models within a condition of continuous evasion, must be continuously


changing places, and hence, each others values. So, as with a simple physical model,


we may think of opposites which change from negative to positive as soon as their compulsion


away drives them along a particular path, which becomes predictable to the other as soon


as it is initiated, being the predictable mirror of itself and hence, demands an immediate


reversion, or a temporary handicapping of the “better judgment” which is another predictable


aspect, which must be accounted for and compensated by.



In brain matter and its imprints, which become impossible to “talk” about or


”term” anyway, because this is the lens through which we perceive, and process,


feelings, experience from a past, instinctive skills which have been allowed to flower


(talents) and intellectual muscles heighten and tightened by use and focus, -cannot


themselves take a physical form, but only manifest as subtle variants of the magnetic


forces propelling the central or isolated object (the subject of the performing act, the


object of the art, the material of the object the energy burned in moving the object or the vehicle


that delivers- this magnetic force then can conceivably be the easiest to


compose for of all these liquid aspects- while capable of reversal and change, their


structure is perhaps the most rigid within itself, the minds way, the talents, the energy


already applied in a past equation to develop a second nature, like an intellectual


discipline, these can give a “step up” with their previously invested energies,


in an otherwise energy conserving and energy eating system which has no extra juice.



How can such a continuous system begin or open onto a starting point-the paintings of


Mondrian come to mind- turned at an angle so a square becomes a diamond- painted lines


extending off of the canvas, with the canvas space so obviously not the center of any event,


but a side-line that is slipping away from the observer out of the frame- this is how, you


must tip something so the weight is an ineffective doorstop, so that entry is possible


by appropriate means of evading the system by stepping in from outside while the


systems’ world is tipped within ANOTHER world through the air like a plane descending


to a runway and landing on it the plane in movement , the runway stopped, and then


the plane is stopped, and then the world resumes of lines and taxis moving out the


contents of the plane OUT into the second world.


So all of this, with the exception of the Mind Matters, whose use(s) we agree are best


expressed as an extra energetic input, like a secret power switch or an overdrive,


or a nitrous or oxygen tank to boost the fuel effectiveness on a street race car,


may be placed in parallel slots to tip a bit for forming that entry point, let us say back to


earth to center a “piece” on- a material, – a measure of time, –  a quantity of force,


a vehicle to move, -and a place to exist at once. Any of these, like sequential numbers


on a dial, may be turned to, at the angle of descent required of the entry point.; they


may be turned to in a series, they may be jumped to, from forward and back, repeated,


but not at one time, as time is one of these aspects, and will lend itself, but cannot be


more than the central choice (entry point) once, while it is being time, as it cannot


exist as two aspects at once. If this were to occur, there would be no movement and no


distinction that allows the opposition of evasion, as time won’t occur within itself, and


the aspects are then a mixture, and not a compound; the elements, or, aspects as I more


comfortably call them,  retain an elemental integrity because they are stripped to their


basic form already. A compounding is a move into another world, and one that can’t exist within


the performative space which operates firstly from evasion. Elemental distinction


is always present, and always necessary. If there were a god, this is how he would have it.



Let us say we wish to begin from some notion of a flight from oneself. This has no aspect

quality or form, as we said, but is an influence, on a magnetic force that may be generated

by one of the aspects that exhibit qualities we know, time, substance, vehicles, those.

So we tip our machine an find our entry point of choice, and go about landing on our runway. Perhaps this will be in material that we wish to flee ourselves.  Material may require time, so

a secondary aspect may stream along beside material in a mixture. Fleeing the self

may find a kindred energy in a brain matter imprint perhaps of memory, but this will

only give the flight from self a shape, and not a body on which to extend itself. Can material be

extended twice? We must keep in mind that these are imaginary stops of a world that moves and evades- remember the Mondrian paintings- everything is already in place, is already

moving, is already existing despite our choices and distinctive selections. We are plugging in our eyes, this is all. So let us try to choose to use material to be evasive of ourselves with

from a material aspect.  How effective can this be? As a dominant aspect, we are existing with a little twig within a world that wishes maybe to hunt us, and perhaps all we have is diminutive size- material world will know our moves however we make them if we couple ourselves with some diminished form of the world, because the material world will exist in that twig and this

will be like a beacon indicating its presence with the evasive self holding on. Like the parallel

lines in a Mondrian painting that extend beyond the canvas, we may think the lines will never meet, but if evasive performance is to depend on these lines and their natures, we must assume, for our own safety, that they will converge at some point in space beyond the

canvas, and pierce us like on two crossing knitting needles. And because of the supernatural

relationship of elemental material, which because they have identical resonance they are

constantly informed of location and direction of individual portions of it, I must expect to be

found out and not produce a successful evasive performance, and will them be confronted

with myself, my greatest fear.  Go then into the choice of a material world with a

secondary aspect of time/ duration, or of a spatial placing about which your movement

through it time might stream, and time would stream around material and reveal its hiding shape to you, and let you step away, or duck and hide again.


Sadness, fear, paranoia, love can all be very driving energies, like this additive to fuel,

injecting to a standard magnetic motivator of the mind a powerful push of flight. While

emotions and feelings seem unmeasurable quantities and qualities, they cannot be

discounted and deemed irrelevant simply because of problems with perception. They

are in fact what they are at any given time, like the highest note you can sing right

now, and the lowest note you can sing right now.  They are measurable in that they can

be dealt with as relative, and very specific, and in relativity, using time, forming them

through the time aspect in the moment, they are absolute and extremely exacting

values.  So, but using an “aspect” , time, of our evasive performative world, we can

generate a mini-system through which we may progress forward into evasion, with

momentary, and hence, multi-valued feast of feelings, which, because of their relative

quantities, can be powerfully unpredictable allies in evading the predatory aspect

(the dominant aspect in the world) of our choice.


This is a textual evasion. I have not generated a descriptive form of performance, but have

rather used up (in, used in) time to evade performing or generating performing that is specifically descriptive enough to tip the world to enter and begin to perform. Rather, I

have used the mind matter conjoined with intellectual repetition and practice to not work,

to sit still in time, evasive through a use of languages’ words to come to a relationship

with the action I might do or have done within the time I had perhaps allotted for it, but

rather I thought and made expression regarding what this act might have to be or not be to be accurately realized and be a legitimate performance in keeping with some world I could only

perceive through eyes that I would plug into it that are imaginary. This has been successful to

this point; but, I have found myself out- I have seen what I was doing when I decided I would now write some descriptive material that would help me realize a piece of performance art using this first principle, and I found I had become so restrictive, that I could not move to

make something within my thoughts which had decided instinctively and on their own to

generate an illustrative example of evasive performance through sedentary self deception,

and it was a performance which had a failed, sad ending as I fell out of the corner of this world when it was shown to me by myself that I had been evasive to escape myself, and as soon as

that was clear, that this escape involved thought-ing itself and not performing, I caught up to myself, and being caught up, I could no longer flee, I was caught. So, I had failed to perform, and was exposed to myself, though I had evaded for some time. So the performance was successful.


So now, rather exhausted, I will move on to described a brief set of actions that may make

use of some of this, but also exist as “bad example” as I already know I will break some of

the laws that govern.


I choose a central aspect through which to enter. This is an evasive action in space.  I enter

the space world with a set of parallel materials that will of course inform each other of their

presence. I will however attempt to evade several particulars of the all material stream as it moves through the space aspect.  I have several four foot long dowels.  I have a large black

felt cloth which is perhaps six feet by six feet square. I cut several holes in it with scissors.

I am careful not to look, not to care where I cut. I have a second sheet of material. This is a sheet of plastic PVC clear sheeting like you would put over a window to insulate it against

the cold in the winter. I also cut many little holes in this using scissors, paying no special

attention to where I cut.  Then, beginning with the first black felt sheet, I poke a dowel underneath, making a little black tent as I go, prodding around the inside of the sheet. I

expect eventually, the dowel will slide through one of the holes. I don’t know what I will do when this happens. I know I can pull the dowel out, or I can leave it. I can flee the hole,

or take another dowel, because I know I have more dowels. I also know that there are more holes. I don’t know if I want to try to save the dowels and not use them, or pull them out, or

move on, taking another dowel, and prodding underneath, perhaps trying to not hit a hole and make the performance longer by having more dowels for longer. I also know I have a piece of

clear PVC sheeting which also has holes. Though it is clear, and the holes are too, I might be

able to see the holes, and avoid them. I may wish to go on to the clear sheet and not continue

with the black one at all. Or, I may wish to go on to the clear one, and close my eyes, because it is clear and I might be able to see it better, and perhaps avoid the holes and have a very long performance. While this piece is not in time, but is in space as my central aspect. I may choose delay, because, as this is space and not time, delaying may mean something else.

I may at some point choose to delay as of means of evading this series of decisions and problems.


I should name something and I will call it first “the invisible source.”  This is the unsaid,

something whose nature is not even alluded to for fear of revealing some weakness

or secretive part of participant/evader/performer/artist’s life. The generic term for the

invisible source will be BlackBox.

The blackbox needn’t be present- in fact, it would be highly unlikely that it would be

so available to be perceived. The first evasion of the blackbox then is the flight into a

different space, a space where events objects, discomforts, and relations of the

unspoken blackbox have not existed. This clean safe room begins untainted, and the

task at hand must be sustaining the clinical room and keeping out the blackbox, which is of

course carried in, in a dormant form within the evader. The “box” is a structure of

containment, cobbled out of fear that the substances contained may seep, or spread

or grow beyond the aspects of events and matter that gave them rise. It is like an object that

may move through a circulatory system, influencing operations to which it is unrelated, using

manufacturing means it finds to make its own food, and expand and exaggerate its nature

until the substance of the box becomes a parody of events and matters, and its host, a

cartoon of a life whose outward demeanor is one of extreme depiction and suggestions, like

the metaphorical tableau of deadly sins, emblematic, obvious and transparent to the reading. .  The contents of the blackbox being typically historical events or materials which contain in them a negative or destructive force, hence, the evasion, to an individual,  may be

suppressed by a refocusing of the senses through which it would sustain its image and

reproduce itself. This refocusing may most easily take place in the fresh, different space

as chosen as a means to evade the blackbox.  The refocus can gain a foothold and fill

the space as yet unoccupied by the hostile influences, and create a buffer around the

artist/performer/participant of another life, another activity or vocation that masks the

one whose past choice patterns generated the contents of the blackbox. So this new

activity or vocation has nothing to do with interest, ability or innate compulsions; it is

the representation of that as it might occur in another, not the artist/performer whose

purpose now is to evade. So we have  morphically worked our way toward two possible

evasive maneuvers that may be employed in dealing with the black box. Repetition/ brain

matter refocusing, and physical self negation- the repetition of a factory, or the filling

of time as demanded by a repetitious act, or one which is very intricate, demanding

of attention, or of maximum involvement of energy/ speed, and focus.  For someone

outside of the artist/performer, the blackbox may not be apparent at all, but at

some point, it will be clear that something other is in the room, present perhaps

by an absence, but clearly influential; otherwise, the motivation of the performer

would be lacking, and there would be no activity at all. The blackbox will be implied.

With a blackbox aversion, there is no other space location or specific fear. Evasion

swells up from within, and these techniques described will block the arrival to the

surface of the seed held inside. So while aversion to the space is senseless, aversion

to the inside of oneself is sensible. The repetitious act, the intricate demand of

attention to a duty is a way to move aside, first to block, and then, if this fails, to

diminish oneself to such a degree that detection by ones blackbox is unlikely; through

negation of the self through its subjugated use (at a job, a duty, and repetition to some end

not advancing the artist’s self) by an appropriated outside force. This force is appropriated

because it is a mask, a disguise; it is not a real purpose- it is a blind to hide the evader.

If the appropriated force were analyzed, it would be revealed to contain none of the long

term or deeper facets that make work or a job an exchange. There would only be the

appearance of the reciprocal relationship. It would be all surface act, with nothing to

stabilize or secure the performer, who must of course be free to flee at a moments notice,

as the blackbox may rise on a serge from inside at any time, most especially during periods

of fatigue and the weakness of doubt which must eventually find its way in.


Yet what we describe it seems is a very aggressive generation of force to shield against,

to build walls which is perhaps in some way not evasive at all. While it evades by negating

for instance knowledge of some topic or aspect that might be identified with the blackbox  fears, it confront the outer sense, which is a secondary fear value, which has been diminished

or strained such that its recognition does not bring on the body of fear itself, or if you will,

fear’s skin, and this is sufficient to notify the active energies that engage materials and the

other evasive aspects, that this work must be done, that the monster, which may remain unnamed in this way, is at the gate. We may then think at this point that a symbol system might be evolved, a set of equivalents, that develop through the conscious effort to

generate discursive subdivisions, like the ancient categories, or more naturally, though albiet

risky use of trial and error, where what is led to happens as the useless falls away of its

own accord, and what remains is an organic series or method of harmless duplication; pictures, like the reflection of Medusa, and not the image itself, and so, like that reflection,

a harmless indication which is useful in the pursuit of evasion, and not harmful- not a part

of it.  So the next step might be then, how do you attach these symbols to what they represent,

IN REAL TIME? This seems important to me as a possibility. If pursuit takes place in real time,

how will detached, or stationary symbols help us, beyond a usefulness in developing

strategies for future aversions?  It seems, that as blackbox is the most volatile and unpredictable of the threats that hunt us, with its irrational nature and secretive, perhaps

supernatural powers of mind reading, an ineffective (harmless, like a vaccine derived from the disease) reflection might be useful as a warning as to locations and movements at any given time. Perhaps, too, where the symbol is a kind of compression or stripping of those negative

natures contained within the blackbox, as we said also, the skin, it might be so much lighter than, and move with more ease, and more quickly than the blackbox, while still indicating

effectively the nature of movements, directions, emergence of dominating contents. Working with these symbols would be useful as an impotent or practice representation of actual battle, or practical training for when these actual combats take place. This is like practice field battle-

but how effective can a practice be if there is no consequence? Is real but friendly fire any

less deadly than enemy fire?  Perhaps we can subject ourselves to an earnest application of these symbols where they have been  “leaded”; while the blackbox seeks complete raising,

a “leaded” symbol would know to stop in the case of a fatal event; too late perhaps, but

at least at one’s own hand- and engage in practice, not in the combat that as we know, a direct event must end it the loss of the performer. It is impossible for a performer/artist to combat

directly with his/her blackbox. The blackbox knows and is all about the weakness it can resonate like a sound hole for the performer/artist. You cannot win against the amplification of this dark part of yourself. And the blackbox is itself a resonator, a narrower of focus, and a channel for everything that builds upon itself with the beat of every moment it exists in time, in time that with its waves builds from now to next backbone and support lapsing back and forth

and pushing harder and tighter in the same amount of space until it registers as weight and weight alone, and then, as gravity, and this is most fearful of fear, when it becomes attractive.

It becomes your death wish. Moth to flame.


Something must pull you away. In your performing/ art making world, you are alone and

on a battlefield truly enough.” Friendly” leaded bullets or enemy blacbox, practice or an ultimate battle, your life may end and that is the last that you will know of the performance.

Like the Mondrian  painting, evasive performing is an excerpt. There is no complete piece but for the body of work, which is the only form that truly will have beginning and end, and this is not arbitrary- it is begun at the beginning of the notation or the first retained object/ construction, and ends with the last, regardless of interruption or circumstance. The choice of

artist to do this or that is always arbitrary, as arbitrary as deciding that something finished when the artist says it is. The truth that all the bad movies that are about artists know, and the truth that every un or undereducated person on the street knows, which is correct, is that artists,

more than any other person in any walk of life, regarding himself and his product and essential

being and what describes him/her self, are completely full of shit.  They are dangerously self deluded, and risk plunging into that self destructive state at the drop of a hat, which most plumbers, carpenters and city workers mostly miraculously are able to avoid. While artists

may like to think they can lead the world into the future with their utopian bibles and

rituals of communion and love, they are about as shamanistic as an onion bag full of babies

diapers. I am being extreme here because this is an extreme situation. The least able

to guide has given themselves the torch.  So, in terms of the performer and the evasion properties he/ she wishes to employ to engage in a performance structure that would

illustrate evasive properties, we should look elsewhere, again, like with the leaded friendly

fire of the training exercise, we should look to the operations of the existing world, to what

works and to what is effective in glossing results and serving purpose. We can model an

effect symbolic mimicry from something of the world. Not a job, but a way in which something gets done with economy and some speed.


But before this happens, there is more to muse about. Is there perhaps a counteractive

blackbox, is there perhaps a- whitebox? What would a whitebox mean? Would it perhaps

share some of its content (which must forever be specifically unnamed) with blackbox,

and maybe is whitebox blackbox in a different time, or setting? Is it identical? Is it a trick?

As the distinction of white vs black suggests, the two boxes might best be given definitions

of opposition.  The definition(s) should account for some flexibility, accounting for the

possibility of some special conditions, degree, and circumstances of opposition

which might separate a local condition for a broader or more universal state.

Questions arise though regarding the distinction between two potential boxes,

and if the idea of opposition is sound. First, if both must be kept in this silent or

invisible state, how affirming or positive can any content therein really be?

The assumption is that nothing invisibly contained can be of a positive or

affirmative nature, which we perhaps cannot know to any certainty. We may

generate sets of “believable” conditions by which we may decide on individual

circumstance/ events’ similarity and belonging. Circumstance/ events’ not

easily matching a set of predetermined criteria would perhaps be “logged” separately

or simply pushed through into the set as not being sufficiently different to warrant

separation, and this would be the degree to which a group or set of circumstance/

events would be reliable.  Circumstance/ events that were clearly separate in nature

from the pre-established model group(s) would be placed in a group that would later be

digressively strained into legitimate new entities, and generate other forms outside of

“groups” if the problem of individual or indefinable circumstances/events became

too many to  manage.  So, the divisions of perceived positive and negative evasive

material becomes more a qualitative judgment for purposes of structural or material

division.  The unspoken contents of these boxes are simply assumed to be unspoken,

and, not negative as much as needing to be evaded, and from there, their criteria

of distinction would determine which box. Then, the idea of a white and a black

box would be useful in performance terms; the catalog of responses, emotions

and personal history values would all allow these boxes to become resonant to

individual performers/ artists who may have their own sets of circumstance/event

responses to materials that are encapsulated and unspoken. The fact of performance

with these materials might suggest then the continuation of additions, in performance

time, to these boxes. They are perhaps activated, embellished or increased in some

proportion to their use or relevance to an art application.


“Evasive skills”  describes adaptations, mechanisms built and reinforced through use,

and natural predisposition to most effectively elude the beasts of pursuit. The evasive

tool set is drawn from outside the regions of art. As the beasts of the blackbox and of

pursuant entities are from the cracks of living and not from the act of art making, they

require life skills and skills learned in the field of living to confront them.  This than is a “skillbox” that may hold these skills together in an ever accessible form, moving

and passing so to be close at hand at any time- ready to be applied and put to use

against the forces that gave rise to them and gave them form. This all seems very

practical until you start reimagining the source of this pursuit again, which happens to be creating generative principles and mechanism for evasive, or, topical-non-topical performing.

All theory all the time must be looked at and evaluated for performance equivalents.


A further variant is possible with these boxes. An aspect or topic might be catalogued in

blackbox; perhaps something that generates shame, or pride- that is run from in the

mind if the performer- but then, the perception of this aspect may change- an event or

merely time itself allows a maturing that alter outlook- and do those aspects of previous loathing themselves change? We transform them with our relation to them- the dark lightens, the light falls into shadow- and they gravitate toward a new relationship with the aspects of

their kind- the dark forge new ties and insinuations with the other elements of negative

definition, while some other aspects are raised up  and knit with new threads of shared meaning and value. This presents another front or field of action for the performer, a

new space in which to evade, with new forces of relative values that spring from the

perceptions of the artist which like the field of battle and play, will become something else simply through the passage of time.


So this is the second rendering of the Evasive Performing sample previously given.

A long dowel (wooden rod) is painted white. A black felt blanket has some small holes

cut in it like constellations.  A heavy metal pipe is introduced- the performer tries to hold

onto it as he does the other acts he must do. It will fall to the floor it must be expected,

periodically. The performer, after cutting holes, puts the scissors into a pocket and draws

the black felt blanket over his head. He then proceeds to raise the black blanket with the white dowel, running it around the inside of the blanket like a tent post.  The white dowel comes out through the holes when it finds them. The performer pulls it back through and hoists the blanket back up overhead, which has slid down the poke through the hole.  This is done numerous time. The performer is allowed to move slowly across the available space with

this circumstance, picking up, trying to hold, and dropping the pipe on the floor as he goes. He

tries to keep the pipe under where the blanket is.  After moving across a fair amount of the space in this way, the performer draws up close to the floor- the blanket and dowel sort of

collapse on top of him- he is hidden still, under the blanket. Now, he reaches out from underneath the blanket so his hand is visible. In this hand is a dowel perhaps two feet in length.  The performer holds it upright in his hand so that one end of it is on the floor, the other has his palm cusped over it. He begins to emerge from underneath the blanket, pulling himself forward using this dowel as if it were a cane. The performer tries to keep himself vertically

even with the height of the “cane.” This means he must hunch over, like a rounded backed man. Or be even flatter, on knees. He moves forward with the cane, blanket still partly draped

over him. Now, several awkward steps forward, he produces a second dowel with the other hand. It is also placed one end on the floor and the other end cusped by the palm. The

performer goes then from left hand weight/ moving, lowering the body to the height of that hand’s cane when moving forward, to following the other hand with its cane, which is must small, and forces the performer to flatten himself out on the floor and crawl to keep even with the short cane’s height. So, from advancing with one hand and cane, with its own unique height level, to the other hand to guide, with its own height level, the performer moves forward and away from the performing space. An attempt is made to keep the metal pipe, beneath the blanket and rolling on the floor, following the performer as he advances with the strange cane following.  The piece has ended.  Maybe he gets to the edge of the room.

Post note: This piece, performed after this writing for the first time at Mobius International Festival in 2006 as WblackboxW was expanded and changed. The above material was used with the following additions and changes; The metal pipe, which was 6 feet long and 5 inches in diameter was used to contain all the other materials initially. The metal pipe was introduced, picked up, rolled, and finally, flung- up into the air as high as possible, and against a brick wall, with as much force as possible- this was done almost to an exhausting state- this “blackbox” became apparent here- an access to an invisible or secret energy or source material which was off-stage or absent in topic. After the flinging, the pipe was rolled to a more central location in the space- and the materials were pulled out of it. Additional to the materials previously described, there were pieces of stationary paper, and envelops as well. instead of one white stick, there were four or five white sticks of different lengths- the were used in the crawling segment alternately, and the height of my body was made to match the height of the cane as I used it out before me- so I was adjusting my crawl to fit this ”measure.”  In addition to the crawling, the papers are stuffed into the envelops- while also trying to balance sticks, cloth and pipe in arms- trying to keep them cradled and off of the floor at al times. Finally, when all the acts have been performed, the materials are rolled up and once again stuffed back into the pipe as best possible- and a final fling or two of the pipe in the air and against the brick wall- by this time I am completely exhausted and can hardly throw. “That’s all I got.”


It is time to reduce the verbal equivalents to a plane that is more.  Words that seek to

define a principle of evasion which is not an intellectual practice but a physical response

or intuitive leap of faith in one’s own blazing light need to reflect that direct nature and

capacity. Are these types of word strings the beginning of this? Or do we need to further

remove ourselves from our received forms and use our mouths with select positions of its apparatus to emit sounds that may be words without definitions as a means of redirecting

ourselves to deal with materials and circumstances and situations like we are atoms of a new and unfamiliar element, not sure where to go, or what to form compounds with-


The floor will be dry- you can put a fan on it, you can place an electric blanket(s) over it

like in a matrix- to cover the entire floor, if you think it is wet- or if you have wet it-


Extended Material on Absence and its related manifestation of surrogate performing


Absence is a lens a compounder and a fictionizer-. With absence may come an excessive and obsessive  repetition of a small number of facts, impressions and images encountered and gathered while the object of absence was near or accessible.  These repetitions may be repeated inwardly until they are known in every nuance and from every direction. These repetitions may become ritualized. They may be scriptural and idealized, given elemental

resonance- they may be used to reflect, or, used as a lens to perceive everything which is

not the ritual- everything else then becomes things pertaining to the ritual- or things that

reflect it, or can be understood through the repetition.


The initial material of absence may also be compounded. It may be built on, as with

scripture and, secondarily, and commentary texts- as with the lens aspect of the material, a system may be developed to explain everyTHING that is not it, through it.  This compounding

may extend to greatly varied form from the original incidentally formal structures- poetry,

fictional extensions, and even prophecy values may be given and expounded on in an

attempt to stretch this material so that it may appear forever new, renewable, and living, though the original source of transmission is long since closed down.


Also then, the expounding, the rituals, or the secondary developments may all be attempts to reconnect- to the lost source, or, more specifically, to find a new means to contact- diverted from conventional or originally successful means to communicate or contact, it perhaps becomes a project of finding any means that seems to suggest results or some responsive

signs that might indicate a remote response or acknowledgment. This may mean developing

additional means of decoding or value giving or coding/ decoding what might on the surface

appear to be conventional and commonplace. Data, occurrences, or materials. This is then

a potential development of a science, or, an esoteric or occult tradition- where a system of testing and evaluation is given, or a prophetic or occult interpretation, where the absence/ presence is always assumed, and merely then sought after through relevant symbolism, interpretation of subtle but “normal” variation in conventional material-, and so forth.

While absence principles may share in aspects of Evasion, and the inverse, Absence will at

any given time, being that the two principle sets may exchange aspects and values and appear to reverse, be the complete opposite in the first aspect of force, of Aversion.

Absence is a gravitational attractive force, a drawing to or drawing toward that is a fixed value and does not change. It is all about attraction and return- aspects may shift- more generally from the direction of Evasion to absence, but the essential and distinguishing value of absence

remains solid. It is attractive and magnetic, though never repulsive as magnetic force can be made to be; the analogy is a limited one and needs to be qualified with digressive and

binary-type reductions.   These reductions have been perform in part along the way in this

writing, and will continue to be employed more emphatically.


A phrase to put down but not expound- Invisibility and Absence-. This and its meaning will be worked into texts that follow.

Another phrase for development and enhancement- The Transparencies and Ironies of Principles Derived and Abstracted  from Personal Loss or Grief, and the Pursuit of a Distant

Love-.  Also- Sacrifice, the Idealization of Beauty, and a Priesthood, and the Emergence of Resulting Multileveled Caste of Followers and the Commitment to this as a Social Disease -.



And more phrasology-  The necessity of drug intoxication at moderate levels to

sustain a workable balance between physical reality in which to function on a

surface, continuous level, and the use of chemical alternations in excess, and ITS

place in sustaining the illusion of closeness to the object by a removal of the

barrier of “reality” as it dictate physical proximity, and the knowledge of the nature

of absence or distance, and the belief in physical nature firstly, and the reality of

the insurmountable  and what that excess means to sustainable daily, continuance

levels (abandonment to the absent object)


Surrogate performing is a distillation of what exists in artistic interpretation to some

extent, but not completely, firstly, or of dominant importance. Surrogate performing

first is someone performing as another person. This is not the actor/role circumstance,

but rather a performer representing themselves as another person,  the author of

a specific work, the performer either unidentified, or, identified as blank, performing as

blank, not playing blank or replacing. The second aspect, which is derived from this

and partly explained by it, is the extent to which this surrogate exchange is extended.

The performer should become the other. They function as, but to become this other

in performance, they must become more than the presented material- they must be

inside the mind of this other, to be close to the work, to be able to spontaneously

part of the realization, and this can be expected to happen in several ways.

There is research, which would allow extended facts as background, there are

remote collaborative efforts that may be affective, and the is a functional ritual,

occult or religious aspect that would allow a transformation to take place, a

temporary becoming that would transcend as the religious would say, the material

and the flesh. The performance would operate in a transcendent space, where

equivalents and  source are indistinguishable.


There is room within the surrogate performing principle or model to expand and

or subdivide the topic into criteria that would hasten toward a theory. The nature

and particular distinctions of these modal elements becomes obvious and clearly

delineated  as they are exposed. They will first be akin to stereotypical personality

pointers, a thumbnail character study of a “type” which is something (a form)

already in existence in literature as an obscure literary form which is called the

Character, or, the English Character, which will be explored and explained here,

and associated literary and period science constructions, such as the very characteristic

and character oriented deadly sins, virtues, and the humors, as developed through

early medical study, as well as relational models and templates, for instance

a music reference to modes, which preceded our key signature system, and

which worked together to allow the use of scale combinations to form melodies

and harmonies, as well as key centers, and what was called the gamut, which was

the entirety represented by these modes combined. Just in this way, personality

aspects could work together, overlap or in tandem to cover the field of possible

surrogate functioning, so to generate a clear outline or template regarding a

systematic procedure for attaining a affective surrogate relationship.


Another important aspect this surrogate performing introduces in an additional

light cast on the idea of the art collective. Identity, authorship, independence,

collaboration and exchangable nature are all elements significantly in play

and being modified here, and the meaning of the art collective itself in light of this



This use of the word “surrogate” of course begs the questions raised by a simple

partial return to the source of its appropriation, and through extension allowed

by our “new” use, touching on more broadly surrogate lives, with the dizzying

possibilities of actual surrogate finance, shelter, labor, and love and sex lives,

and the philosophical spheres spun out by each of these and all of their

combinations and progeny.


The original purpose of the surrogate function for us can be clarified.

The purpose is first to make available remote works and performers in

local settings- this can not always be done because of distance and funding.

A quick answer or patch on this difficulty is a change of identity or a surrogate

relationship where one functions as another.  This saves time and travel

expense if done reasonably, and also introduces a richer quality of relationship

between artists who must become something other than slaves to the various

but same indenturements that they are subjugated to as part and parcel of the

artist’s life.. Surrogate performing may allow some amount of personal control

of destiny extending beyond conventional strictures that limit us all frequently

and necessarily to forms of time, limits on our appetites, and general desires.


Special Flattened States and Ambiance of Absence


Many things that may seem uneventful or bland as focal spectacles within a field

are simply operational qualifiers of that field, and to view or perceive as the “subject” is

both incorrect and meaningless. Qualifiers imbedded in a field operate rather as a pivot point or pinion from which the structural cohesion of the shape of this field may be folded or

does in fact fold, may be bent for adaptations (a field’s use may be far reaching if sufficiently

variable- literally- of variable values as in an algebraic equation-)and modified in performance time to generate this subject, missing due to special absence- due to conditions set by evasion

as a formative principle at the time of composition, while evasion in this case in performance

where a special ambiance is obvious- sets a stage that is magnetic to a subject- regardless

of a subject’s existence- the hole created by a magnetic space of absence forces a subject to exist in expectation- and this as much as matter, in the psychological manifestation of “fill” or

“completion” which is more of a brain affect-.


In familiar ambiguities related to “to be”, “is”, and other word values,  looking at the state of

a performance, as it were, in a “flattened” state, one whose “completion” may have been in

quiet off stage composition from which the center of performance has fled, we can see the

possibility is clear for states of flattening and ambiance of Absence which are centered while

existing in a condition of presence that draws from audience, to viewer, to a broader term of audience and viewer as performer and composer, and stage presence (actor, performer, surrogate other which complicates the matter by multiplication, but which can be done here too) through an additional step of fill or completion that is neither psychological nor brain mattered, but, rather, logical, unambiguous, and permanent. So, this is then a third form that is NEITHER fill nor completion, but which serves the function of both and is not a relative value- it must be than rather a fixed value such as PI is within equations that may contain only relative or symbolic algebraic values and be perfectly fine.  An example may be useful to illustrate the

possible reality of this third function without yet attempting to name it, and it will be an example

that illustrates based on this objects ironic absence.  Say you have one hundred chairs that are all identical, one hundred identical chairs. To visualize them, let us say that they are all orange plastic seats, with chrome metal tubing that loops around to form the supporting base (a loop instead of legs) and sides that are fitted into the molded plastic. There are one hundred of these. Let us say we want to locate individuals of these identical chairs without marking them, and be able to return to the exact or any exact chair at any point and be correct in our identification- let us say that environmental locations of these chairs will be a relative and of an

insignificant value. Say, we expect the environment to change or the chairs location in the space to change.  Let us also assume that while we may associate chairs in relation to each other, this will also not be fixed- they may change places and relationships to each other while we are not looking, so it won’t be a matter of visually tracking them from previous information outside of their own existence as individuals in a series of identical objects. We can only rely of their individual values as independently counted and identified individuals in an identical series.  How can we generate then a proceeding and how can we identify functions to enable this seeming impossible act of omnipotence? The answer is of course, digression- digression in formula- digression as evasion- evasion as distraction- distraction as diversion as in a shell game away from the clarification in a series of cyclic identifications that rolls back endlessly into the number one hundred and never arrives at an end, exactly like PI does which is an equivalent to a natural (nature) and mathematical) our reason attempts to order- in a phrase


diverting down down down—stalling for time— evasion from the point of clarification that would allow proceedings forward in one direction- here a clue or a quality of this new function as yet un-named- that the diversion and stall for time does not let the proceedings begin- it is always standing at the stage door- it has no linear direction- and observation if stripped from linear direction become chordal as is a chord in music, but if you strip it from itself in its presence in time, you will find that it is never enunciated- you do not hear it out of time- and so the performance is stalled as the object of attention is waited on, while still its absence is felt, and it is not the absence that is replaced by fill of psychology or the completion of the brain matters, but is rather that third where emptiness which exists because of what these other two do not supply, so yes we have yet another subject which exists without itself and the evasive principle we initially begin with is resupported with a cyclic aside that is both caught in itself and will not return while at once we have never departed down this path which cannot exist without time, so is never enunciated, while yet we seem to wait, because of expectation- to be- entertained, or, relieved from tedium- which will not be relieved because this is not about the viewer but rather the performers fear of commitment, and the performer’s pain that will never let the proceedings advance to a presence on a stage- even if a presence does arrive, still the ambiance of Absence is detected- and still we will wait for a “performance.”


So we may identify all one hundred chairs in a series and with each, digress permanently into infinite subset states that for each chair. These subset states being the relation to another or all chairs in the one, and this is the flattened state. Permanent digression is partner to omnipotence, which is partner to omnipresence, which is a thing out of time. I have tried this with physical chairs, and it is maddening as hours passed quickly by because it is such a thing out of time.


Can the surrogate be your endless digression of a flattened state of subsets? Will their feelings as individuals fly like bats in the night and make their bodies insane? Can the flow or waves of surrogates we may pass through this as a channel form a pulse or rhythm that would be substitute for time- may a rhythm exist outside of time- if it is part of a permanent digressive series- in a state of flatness- does that flatness disallow a pulse or wave affect through it, or does it encourage pulsation through itself as if a physical matter made to resonate, or does that flatness find a form of immaterial release by letting passage of a pulse that temporarily resets a permanent condition in a digressive permanent state of flatness? Can a rhythm through a state be like my thoughts of rolling and special emphasis within a roll, within a cylinder that has had a weight attached to a wall on its inside which seems to limp, stop and start as it is forced to roll in some direction, mind you now, can’t you detect the hesitant pulse of the weighted tube as it rolls by you?


Flatness where something can’t rise- flatness a horizontal subject to the massive force we all can’t deny, but just a few, the gravity that we second naturedly except without our thought unless confront to a state without in a free fall or out in space too far away lost to make a difference or likely to ever return to report this- so much like a digression is the state of permanent advancing in one direction or permanent travel. Let us dwell here on flatness- flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat.

You could snap it like a whip, if attach to itself at both ends, you could do this and isolate the wave to the narrow letters where on this page the pulse won’t travel passed the edges of its forms- and ripple in a circle until we stop the clock- this is in time then- of course it is- how can


digression exist if not in time? it can exist in a time of its own is the answer, and the circle needn’t be observed at all- it can lock into its own pace of pulse and like a rhythm that never alters, it may exist without ever crossing another rhythm into a syncopation- side by side- and never touching or greeting- and yet- isn’t this open to that familiar question of a pull- the gravitation that is not physical, but in our expectation of a completion or a resolve- even this thing that is outside of our time so must also be outside of movement- and indeed the circle does not move it is merely used to let a something else of questionable substance pass through it in the pulse of familiarity, the pulse of the surrogate imitation of alikeness, sent mad into the night like bats with bodies insane and throbbing through a course but solid hole outside of stuff?


I’ve steered far from a topic- then, is there a pulse that passes through performance, and is it akin to the matterless and insubstantial objectless theoretical model that lets performance live without a beating heart or thing animate or inanimate? Is performance a fluid form allowing timeless digression and evasions of emotional confrontation and flight from both conventional logic and reason? Is there exception to reason and logic of the beating heart that the rhythms of the world mimic endlessly regardless of the course of human affairs, regardless of the cycles of the earth, the wind, and of our neighboring spaces? To some extent the iteration of such a flow of questions only strengthens what we resist in art that flees from living- the flight that is evasive that questions like so, and offers digression and diversion as a means of stopping pathways carved into our DNA and as inflexible as are our chromosomes- there is an answer in that, but it is not affirmative or hostile- it is one that is as obvious though- that if inflexible we are, our questions are a part of this inflexibility- our difficulty in excepting a fateful world, and steering our survival toward warring and resistance for purposes of idealism and ideas that oppose a more consistently  passive way- and here is where the evolution makes decisions moment by moment- those equipped to survive an attack of an idealist, or a fanatic- and those not- this survival is in keeping with the program of our blood- we might consider to that a flight from living is a flight from dying. Digression in any from is a path toward a permanence in a sense; to get to a point, to distill something down to an elemental for is a purification  that is like the quest for the indivisible- the indivisible cannot be reduced, it can only exist as itself now- a purely individual achievement that has gone as far as it may- it is stopped- this point of stasis is permanence. This is the point to which all digression strives- a point at which to stop which is unambiguous and final, and certain.  I am still compelled to find a term for this third state which is not fill and is not completion but is absolute in itself and shares these other two in its family relationship- then let me call this state Diversive Presence.


Diversive Presence. It has a realm. We can know it, but we can’t feel it. Or, we can feel it, but we can’t know it. But not both at once. This is because… why is this? Knowing and feel are two states that must have the position of the other to see itself- as like to peaks side by side will let you look at the other if you travel back and forth, but you are only one perspective point, and this is the problem here. If you allow that knowing and feeling can perform as an entity, then you must also allow it to exist as an individual does, with a life that has its limitations that confound us to the extent that we must be diverted from our lives by art to find a reason for the autonomic systems that if this external reason were not found, we would break down until everything was stopped, and then, that is when your body dies. And this we do not want, for fear of the other states we can’t know, so yes, the art becomes diversion and evasive if we chance to close in on the same conclusions that material has arrived at through the


contemplation of matter upon itself. Diversive Presence is the state of grace that pardons us from lying down and imitating death inside a coffin in the night, as if such preparation

was unnatural, which is what a “person” might tell you if you confessed that this laying in a coffin at night was what you did. Yet this kind of recognition is completely in keeping with an artless state of material- it exists to decline continuously while it is reborn every sun up like the vampire, which is a symbol struck by art (like literature, like movies, like myth and religious ritual-) and this state of continuous decline and fragmentary rebirth of the morning- is one way in which our sad material bodies of moving substance resists the permanent truths of absence, and the never to return, and the systems we must create to as a substance with a program that would have us extend far beyond our physical spans and expectations of material, see through the long night, turning away from the image of the coffin in the mini-death and birth that is our sad little rehearsal every twenty four hours, we are in Diversive Presence with our minds and our matters on an invisible stage with metaphoric props to digress from the obvious and banal,

into the not obvious and banal. This is one function of performance, in absence, in diversion, in surrogate replacement, in evasive being, on a fear filled stage, in a body that will pass away every time the sun will set, and live again with fear on each arriving sunrise, in this all humans are the tragic vampire of folklore.


I will concentrate here, I will find a way to escape this point of view. Some wine, maybe, this is a part of our Evasive project, intoxication, we have studied this briefly earlier in unsupported art statements in this very text. Maybe I will use this to bootstrap my way into our next exploration- until I open the bottle, I will continue to write, and I will write, “I drank” when I perform this bodily function. This nothing does bring another point to mind, which might roll back into the text if we think about the qualities of the intoxication, and now in light of the mini-death and the sleep in coffins nightly- the intoxication as a narrowing of the senses- a diminishment as a means of narrowing the width of the series of a diversive subset of the flattened series- returning to digressive generative performing- the idea that the senses are a tapered shape of ribbon to the point at which we evaluate and perceive its product of interaction, and display our response in the raising of an eyebrow, laughter, or the swinging of a fist- grammatical structure becomes lost in a list that seeks to cover each previous fragment further like the dirt they pitch on you- progressive in a series, but if we continue on and on, the grammatical expectation and sense of it as an argument that is a structured sentence will be lost and we will be safe and still alive and not finished because the sentence did not end and neither did our breath because the period represents that pause that is the stopping of intake which we fear will not occur again, but rather will stop and there we are inside the body which becomes a tomb while we are still inside becoming it, pleading to it not to just stop like this, to give us one more gasp of air and not to let us feel the organs slowing and stopping their movements of substances in the irrigation ditches of our core from which all circulations flow to every extremity though certainly less successfully than has been the case in the past, so yes, this is a diversion from the mini-death, and a thought that makes me wish toward intoxication to avoid the nightly coffin, even though the wakeful state I experience now is more authentically that of living, while the falling into darkness makes me hear the pitching of the dirt above which our sweet forgetful minds implore us to believe are only dreams, bad, awful dreams, that are not “real.” This is performing. This is an Elusive spectacle par excellence. Yet rather than escape this point of view I held, I have buried myself deeper in it. This is still exemplar of the Elusive state which might be highest in artistic creation- lowest as we seek to cope with daily life and responsibility which is to use an old friend from Maine’s term, the bugaboo.

Who is never really there? Well and good to make this unanswerable which we could but let’s rather make it simpler. If a house burns to the ground and you were not killed, you were not inside. Clear? Yes, yet we know that a “performance” is never quite so cut and dry. With removal of self, and object, and action, all which we have dealt with in some form, what possible presence can remain which still satisfies a space, some things in it, and action, and time? What remains is the notion- like the platonic ideals, or, the transcendent perfect forms- the notion for argument’s sake that these disappearances and gradations can exist in a physical world and effectively represent the purely cerebral accountings of art and creation.

Associations of qualities- is then built as argument atop a ground of notion- argument for and rationalization for the act which will further a notion to a presentation of some sort, regardless of the degree of presence decided to be invested. So, we are moving forward under the assumption that never really there is only a relevant concern in the very last stages- of the presentation and intention to present or perform. Advancing “as if” might be sufficient to allow- as I and you have seen and done this too- on an exhibition resume, written down shows and venues upcoming as if already accomplished- showings not completely secured yet, grants not awarded, unfunded- any number of incompletions- and even once in this form, a listing on a resume, it may become an annoyance to have to realize a work once the exhibition/ venue comes due. You’ve already reaped the profits- unless sales is the key concern-, unlikely with performing- of exhibiting in a place “as if.”  So this “as if” has a quality of the evasive aspect we have been discussing, and situated in a real world situation, that of representing oneself as a generator of action. It may happen that the event is postponed before it takes place, or the artist withdraws because of insufficient preparation- now, does the artist remove the listing, or does he/she simply leave it, because, after all, it will have by now come to pass anyway- it has become history albeit historied by this listing and a “false” one, if that can be applied to a non-existent event.


Performance notes for VblackboxV


table roped around my back

flipping box into space, box contains black napkins or paper

side satchel contains 1 Guiness Stout can 1 beer glass 1 red wine bottle 1 wine glass


On hands and knees, flip box from face to face into the space- a white table is strapped to my back with rope.

Unstrap table from back, pace on floor.

Take napkins out of box on floor, place napkins on table.

Remove wine from satchel, wine glass- open wine, pour wine into glass.

Take beer out, place on table Take out beer glass, place o table, fill with beer.

Take more black napkins out of box and spread around area on table and surrounding floor.

Make like a courting bough made by birds-.

Stand facing direction of__________ from my location- using compass to orient- make compass use obvious.

Close eyes- make noise twice or so, a yell or holler- choose phonetic quality at the time- 1rst time is low volume, second time vocalize a little louder-

Third time, nearly full volume, try to get louder and louder- scream brains out- scream scream each time try to scream louder than before- until my voice is completely gone-worn out.

Take black napkins out of box- more- place around in additional arrangement-

Reorient with compass- try to scream again in direction of ___________ until voice is gone again. Repack napkins in box from all about- flip box out of the space

leaving table, wine, beer and glasses behind


Make the table, wine, beer, more inviting like a nest a bird would make or courting chamber ( already said)- perhaps put down coins on the floor as well shiny etc. and form bough around the table, in a semi-circle even-etc.


From this particular blackbox, a set of notation and form has been developed to compose the elements of the flipping of the box (a previously composed element, more generally composed for the flipping of a rectangular flat-ish block, or square) and the scream. (a new compostional notation) One form has been generally given the name of “Aria form from VblackboxV .”

In this notation, a row of shaded squares lead to a blackbox, from which diagonal/vertical lines ascend and attach to a number of black circles- these are the notations of the screams- given in different arrangements and sizes to accommodate the desire for interpretation and variation between one rendering and the next, just as the rows of squares do in their variation from score to score. After the radiating line to the black circle, the row of squares continues on a horizontal path from the other end of the black box, and terminates at some point unique to that specific score.  Examples of these score are included here.

Also derived from the VblackboxV performance, a second notation for scream, deals with a composition of screams in clusters and compounded forms. In these, a blacken square, representing again the black box and source of scream, is used in multiple. Oval shapes are placed against the blackboxes, and where they lean, they too are blackened. The blackbox is a rectangle- the vertical orientation of it suggests a vertical lowering and raising of the head during the oval scream(s) and also the direction of the score reading at this opoint- from top to bottom of the blackbox, or bottom to top. The horizontal orientation of the blackbox is treated the same- only, read from side to side. The screams, where they occur, are read and acted on. Now, as we see from the scores, these ovals and blackboxes can come together in clusters and compounds, where multiple screams are placed in sequences with vertical and horizonal blackboxes and hence, vertical head movements, and horizontal ones. Also see scores included here,  “Scream Compounds and Head Movements form from VblackboxV.”



Thickened for the Deadened Senses


Think of symbolic or graphic representations for the spaces we’ve described, and for the circumstances we have outlined. I find in doing this another aspect strikes that has at best a shadow presence in literal description- and only appears when we give wing to interpretive values in all performance aspects-. So, atmosphere- a medium in the real space that can thin or thicken to promote or discourage a specific kind of representation from existing within it. It does this through suffocation or over-oxidation-  this slows movement in one case, heightens and exaggerates in the other- a state or setting which may be accounted for in the substance of the performance-. So, this thickening- and the double, a shadow, which responds to another in mimicry but whose shape depends on an environment filled with extensive mediating distortions between the shadow and its object of origin- which may make the actions of this shadow a virtual and unrecognizable, though consistent abstraction of or a mocking of the source material-are as linked to the vocabulary of evasion as a topic taboo to direct address, or a banal material that must be “cleaned” to be of any neutral use in a presentation that is largely and firstly formalistic. This may of course be read with some irony, as the purpose for the evasive project is as has been suggested right along to access sources and compulsively exposing topics and materials that because of human elements in arts that in superior realms have been drained of irrational expression, must force their way through in insidious, subconscious and embarrassing ways. It is though the very formalistic approach, the structuring of material, time and circumstance that allows for sufficient control to be exercised on the uncontrolable- the expressive or emotive- that threatens to break for form and come all at once- in what I would call an “order of urgency.” While this may be tighten into a “form”, in the raw state, which most expression insists on, it is a chaotic destroyer of   deeper developments of art as research, research, which most of all, requires structures and control. “Order of Urgency” means only that power pushes one thing forward over another- and gradates from strongest to weakest impulse, each object or source of this energy having attached its own level of compulsive hostility.


This Was a Horrible, or Banal Version of a Principle Aspect, only Exemplar, not to be Taken Literally- as the Festival is Used Merely as a Familiar Point of Reference


The Impoverisation Nextwork


This might describe the well intentioned obliteration of forms.  Reduced to a pure state

by dint of recycling of materials, that in the end turns all color gray, and all material a

sludge of indistinguished properties- a neutral nonproduct, it represents a kind of philosophers stone of art with reversed intent- the amalgamation and draining of all value from rarefied elements- the breakdown of what is distilled to the state of what is a wash. In action, this is a representation in the moment of a state of complete scitzophrenia. Value is generic, events are unclear from background. Nothing stands alone, and everything falls apart from grouping.

This may be chemically induced, or this may be arrived at by way of a philosophical extension of all the imaginable variations a single medium wants to supply. These mind extensions, or, the removing beyond the limit of material variation and exhaustion of goods to a realm of fantasy readdress where imaginative fill replaces material action and material structure, and hence eliminates the natural governor of failure and physical proof, where in this realm, nothing rises above hypothesis and eventually there is a complete lose of any knowledge of the concept of proof- in this state- as a state of performing- it becomes a setting- a preparation envelop with no event button, or a button with no generation by preparation- in either case, the notion of form is none existent, and is a fantasy of tortured espousal. It expresses too much- it is pure expression and expression alone, and is a massive grouping of expressions devoid of meaning and without an application. This can exist as Evasive performance, but not as a form of it, as their is no form- it may be it, raw state of evasion. Raw replacement and removal.


A performer may ask, “do I achieve a most possible sober and sobering state” and “ am I most fucked up, and fucking up?” This is relevant to a stateless being of existence, an objectless

and formfree evasion that is a presence of a word  and a value of description without described. It is irrational without a reference to reason.


Order of Urgency in Evasive Spaces


Nature hates restraint.





The Evasive Principle

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