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REFERENCES
1 - Robinson, A., 2010. The winter vault
by Anne Michaels.. Melbourne: CAE
Book Groups.
2- OMA, Hoolhaas, R, & Mau, B. 1995.
S,M,L, XL. The Monacelli Press.
3- Peeren, E. 2014. The Spectral
Metaphor : Living Ghosts and the
Agency of Invisibility. Basingstoke:
Palgrave Macmillan.
4- Baudrillard, J. 1994. Simulacra
and Simulation. The University of
Michigan Press

5 - Spinoza, B., n.d. Ethics Part V Proposition XIII, Proof.6- Berger, J., 2012. Ways of seeing.London: British Broadcasting Corp.7- Anthony Bogues8- Gordon, A., 2011. Ghostly matters.Minneapolis: University of MinnesotaPress.

All the work ceased as the huge head of Ramses slowly ascended on
wires invisible in the sunlight.
As thirty tonnes of stone seemed to
ascend,
hover,


float in the air,


the entire camp, three thousand men, stood silent and watched.

ORIGINS

Home is our first real mistake. It is the one error that changes everything, the one lesson you could let destroy you. It is from this moment that we begin to build our home in the world. It is the place that we furnish with smell, taste, a talisman, a name. -1


“Disneyland is presented as imaginary in order to make us believe that the real (i.e the world outside Disneyland) is real., whereas in fact all of Los Angeles and the America surrounding it are no longer real, but of the order of hyperreal and of simulation” -2

HYPERREAL

Today abstraction is no longer that of the map, the double, the mirror, or the concept. Simulation is no longer that of a territory, a referential being, or a substance. It is the generation by models of a real without origin or reality: a hyperreal. The territory no longer precedes the map, nor does it survive it. It is nevertheless the map that precedes the
territory–precession of simulacra–that engenders the territory, and if one must return to the fable, today it is the territory whose shreds slowly rot across the extent of the map. It is the real, and not the map, whose vestiges persist here and there in the deserts that are no longer those of the Empire, but ours. The desert of the real itself -4

PROTOTYPE

Can a drawing replace a noun? - 6


And what about the human?

 

“- a prototype is an original model on which something is patterned- the first example of something, such as a machine or other industrial product, from which all later forms are developed.” i.e. a prototypical jazz singer”- 15

MODEL

We need to know where we live to imagine living elsewhere. We need to imagine living elsewhere before we can live there. -8

DEEP FUTURE

This is a project where finding the shape described by her absence captures perfectly the paradox of tracking through time and across all those forces that which makes its mark by being there and not there
at the same time. - 8

IMAGE

“These would be the successive phases of the image:
it is the reflection of a profound reality.
it masks and denatures a profound reality.
it masks the absence of a profound reality.
it has no relation to any reality whatever:
it is its own pure simulacrum”. - 10


We need to imagine living elsewhere before we can live there. - 5

 

Because Poetry is not a luxury. -13

 

Can a drawing replace a noun? - 6

 

Have you ever taken a word in your hand, dared to shape your palm to the hollow where the fullness falls away? -12

 

The eye does not see things but images of things that mean other things -15

 

From one part to the other, the city seems to continue, in perspective, multiplying its repertory of images: but instead it has no thickness, it consists only of a face and an obverse, like a sheet of paper, with a figure on either side, which can neither be separated nor look
at each other. -15


[...] in the experience of the contemporary street, the spatial and the visual converge on multiple levels. On a manifest level, images complement the spatial as they create urban façades and shape the visual appearance of the streets. The 21st century urban experience is hugely influenced by the proliferation of signs, billboards, advertisements, posters, stickers and graffiti in and around streets. ... On another level, digital visual materials have become embedded in
the embodied experience of the contemporary street, as one walks through it equipped with smart devices. To navigate in the street these days, we rely on interactive maps that show us routes and position
us in them, and we ceaselessly complement our direct experiences of the street with images and information we find online. Digital technologies’ capacity to gather data and transform codes into legible signs and images, and vice versa, is crucial in this respect.

HAUNTING

Eighteen months after the salvage had begun, Ramses’ face, with his one-meter wide lips, was sliced just before the ears. He then suffered the indignity of acetate. His visage, Block #120, held by the steel rods that had been inserted in the top of his head, was slowly winched into the sky.- 1

 

“The specter stands for that which never simply is and thus escapes the totalizing logic of conventional cognitive and hermeneutic operations. It cannot be reduced to a straightforward genesis, chronology, or finitude and insists on blurring multiple borders, between visibility and invisibility, past and present, materiality and immateriality, science and pseudo-science, religion, and superstition, life and death, presence and absence, reality and imagination” -3

9 - Hurston, Z. and Danticat, E., n.d.
Their eyes were watching God.
10- Baudrillard, J. and Glaser, S., n.d.
Simulacra and simulation.
15- Cambridge Dictionary. n.d. [online]
Available at: <https://dictionary.cambridge.
org/> 

11 - Gumbs, A., 2018. M Archive: After
the End of the World. 1st ed. Duke
University Press Books.,
12- Patel, S., n.d. Migritude. New York:
Kaya Press.
13- Lorde, A., 1977. Poetry Is Not a
Luxury.
14- Haraway, D., 1985. Cyborg Manifesto.
15- Calvino, I., Weaver, W. and Calvino,
I., 1972. Invisible cities.
16- Mbembe, A., 2004. Aesthetics
of Superfluity. Public Culture, 16(3),
pp.373-405.
17- Dibazr, P. and Naeff, J., n.d. Visualising
the street.

TRANSFER

The more an image is joined with many other things, the more it flourishes. - 3


First a playroom (where the silence was softer), then a refuge (from her brother’s fright), soon the place became the point. Veiled and protected by the live green walls, she felt ripe and clear, and salvation was as easy as wish.-4


How many ways can you splice a history? Price a country? Dice a people? Slice a heart? Entice what’s been erased back into story? migritude. -12

COPY

We sense and experience that we are eternal. For the mind no less senses those things which it conceives in understanding than those which it has in memory. For the eyes of the mind by which it sees things and observes them are proofs. So although we do not remember that we existed before the body, we sense nevertheless that our mind in so far as it involves the essence of the body under a species of eternity is eternal and its existence cannot be defined by time or explained by duration. -5

 

The city of Sophronia is made up of two half-cities. In one there is the great roller coaster with its steep humps, the carousel with its chain spokes, the Ferris wheel of spinning cages, the death-ride with crouching motorcyclists, the big top with the clump of trapezes hanging in the middle. The other half-city is of stone and marble and cement, with the bank, the factories, the palaces, the slaughterhouse, the school, and all the rest. One of the half-cities is permanent, the other is temporary, and when the period of its sojourn is over, they uproot it, dismantle it, and take it off, transplanting it to the vacant lots of another half-city. -15

GHOST

All night now the jooks clanged and clamored.

 

Pianos living three lifetimes in one.

 

Blues made and used right on the spot. Dancing, fighting, singing, crying, laughing, winning and losing love every hour. Work all day for money, fight all night for love. The rich black earth clinging to bodies and biting the skin like ants.


...

​

They made good money, even to the children. So they spent good money.

 

Next month and next year were other times. No need to mix them with the present. - 9


...cajoling is the nature of the ghost, the very distinctions between there and not there, past and present, force and shape. -5

SURFACE

“...superfluity does not refer only to the aesthetics of surfaces and quantities, and to how such an aesthetics is premised on the capacity of things to hypnotize, overexcite, or paralyze the senses
[...] superfluity refers also to the dialectics of indispensability and expendability of both labor and life, people and things. It refers to the obfuscation of any exchange or use value that labor might have,
and to the emptying of any meaning that might be attached to the act of measurement or quantification itself, insofar as numerical representation is as much a fact as it is a form of fantasy. we broke the earth and now we fall through time. deep gashes in the
ground. we scale the edges of our knowing... what we stand on is not masonry. it is the torn place unhealed. the footholds come from how unclean the break. -11


has your skin ever craved a texture you could not name? - 12


This is a struggle over life and death, but the boundary between science fiction and social reality is an optical illusion.-14

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