Hungry Snails and Sandstorms at Sea in Tropic of Trope

https://youtu.be/PZYtaougSCQ
Tethys and Aletheia are a mixed homophone in which the sound value of an aquifier like zone of movement between fresh and salt remark fluidity as repose of movement to evidence such that on the one hand the sail drawn on the curved survace of the krater at the condition of trope as originally change in wind can at the crater invert of mapping not the two on the third dimension but the third on the the two dimensional as in the topographical thinking of Cezanne maintained by Lacan to divert the Phallic gaze and in the journalism of the palimpsest overwrite and underwriting the sail of Gericault’s Medusa as a raft of drawing which in that drawing room invite the exit from a labyrinth which as a motion away from object is the inversion of motion towards which the drawing room composes as topological thinking taken to salons. The maritime evidence there is born of the Dutch still life of sail flesh over stretcher bones the reconstitution of the ships journey and a reconstitution of the world as nature morte reflective of origins in ancient sacrifices flesh placed back over bones as reconstition of what had been “altered”.
In the series I pull together of cyber space as a loop of mapping that is reflective of such events there is the reflection on film space as a scrolling which I use in contrast to sometimes Bauhaus like indications to show a shift in semiotic reading, as when one understands breathing is not voluntary but imposed by atmospheric pressure which we moderate from within the labyrinth. That time becomes compressed in the cyber loop continues this logic of pattern as the semiotic level of reflective agency upon which aperception builds concept.
The film as loop relates to a cutting of the knot, video: which as a no-space intercept build in cyber intertextualiy or enalage echoe the sense of a torus build upon the conditional as pect of materiality and motion as propositions of our own thought experiment upon which art dwells as the evidence of concept formation within itself stating the world cosmos.
In the series I pull together of cyber space as a loop of mapping that is reflective of such events there is the reflection on film space as a scrolling which I use in contrast to sometimes Bauhaus like indications to show a shift in semiotic reading, as when one understands breathing is not voluntary but imposed by atmospheric pressure which we moderate from within the labyrinth. That time becomes compressed in the cyber loop continues this logic of pattern as the semiotic level of reflective agency upon which aperception builds concept.
The film as loop relates to a cutting of the knot, video: which as a no-space intercept build in cyber intertextualiy or enalage echoe the sense of a torus build upon the conditional as pect of materiality and motion as propositions of our own thought experiment upon which art dwells as the evidence of concept formation within itself stating the world cosmos.
In the series I pull together of cyber space as a loop of mapping that is reflective of such events there is the reflection on film space as a scrolling which I use in contrast to sometimes Bauhaus like indications to show a shift in semiotic reading, as when one understands breathing is not voluntary but imposed by atmospheric pressure which we moderate from within the labyrinth. That time becomes compressed in the cyber loop continues this logic of pattern as the semiotic level of reflective agency upon which aperception builds concept.
The film as loop relates to a cutting of the knot, video: which as a no-space intercept build in cyber intertextualiy or enalage echoe the sense of a torus build upon the conditional as pect of materiality and motion as propositions of our own thought experiment upon which art dwells as the evidence of concept formation within itself stating the world cosmos.
In the series I pull together of cyber space as a loop of mapping that is reflective of such events there is the reflection on film space as a scrolling which I use in contrast to sometimes Bauhaus like indications to show a shift in semiotic reading, as when one understands breathing is not voluntary but imposed by atmospheric pressure which we moderate from within the labyrinth. That time becomes compressed in the cyber loop continues this logic of pattern as the semiotic level of reflective agency upon which aperception builds concept.
The film as loop relates to a cutting of the knot, video: which as a no-space intercept build in cyber intertextualiy or enalage echoe the sense of a torus build upon the conditional as pect of materiality and motion as propositions of our own thought experiment upon which art dwells as the evidence of concept formation within itself stating the world cosmos.
https://youtu.be/PZYtaougSCQ