[...]tical homogeneity of the regions of the moon

ibn Heisam ='lgc'>='lgc'>--> the color of the body has the effect of darkening the light
='strcls'>*color is a result of ="trms">density='strcls'>*
“you will not find any color without ="trms">density, because a body that s extremely transparent is not ="trms">dense and therefor it has no color. for this reason we maintain that the color of a body can be equated with its ="trms">density”

eclipse of the moon ='lgc'>='lgc'>--> “this color is dark, its ="trms">nature is blackish and comparable to red”

="large lg2" stl="font-size:110%">
da Vinci's report
="lstsrd">1. vapours rise from the moon, after the manner of clouds and are ="trms">interposed between the moon and our eyes
="lstsrd">2. moon ="trms">composes of more or less transparent parts
="lstsrd">3. moon='lgc'> = carrying ="trms">thickness or ="trms">density ='lgc'>[refractive ='lgc'><='lgc'>-- this is easily how I modeled my moon for the WIELS exhibition='lgc'>]
="lstsrd">3. moon ='lgc'>='lgc'>~= mirror (='lgc'><== large amount of water on the moon)

Galilei
lunar waterlands (in Kepler’s dream journey ="trms">Somnium https://frostydrew.org/papers.dc/papers/paper-="trms">somnium/)
Kepler saw (in the moon craters) large circular buildings that moon
s inhabitants (endymionians) had erect to drain the swamps

="trms">science and cartography of th physical features of the moon
Hevelius
W. ="ppl">="ppl">Gilbert


moon’s waxing phase ='lgc'>='lgc'>--> earth that is in b="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rightlight reflects light back (one third of the sunlight that reaches it) to the dark side of the moon

“what if the atmosphere had really withdrawn to this dark face='qstn'>? and if air, why not water='qstn'>? would not this be enough to infuse life into the whole continent='qstn'>? why should noy vegetation flourish on its plains, fish in its seas, ="trms">animals in its forests, and man in every one of its zones that were capable of sustaining life='qstn'>? to these ="trms">interesting ="trms">questions, what a satisfaction it would be to be able to answer ="trms">positively one wat or another! for thousands of difficult problems a mere glimpse at this hemisphere would be enough to furnish a satisfactory reply. how glorious it would be to contemplate a real, on which the eye of man has never yet rested!” (Jules Verne, All Around the Moon)

the side of the moon facing earth is being gradually eroded by earth’s gravitation

Pythagoreans ='lgc'><='lgc'>-- one of the first recorded visions of an inhabitable moon on which animas and plants flourish, larger and more beautiful than on earth ='lgc'><== ='strcls'>*it makes to sense to create a planet that is uninhabited='strcls'>*
“='lgc'>[...='lgc'>] for she would then appear to have come into existence vainly and to no purpose, neither brining forth fruit nor providing fir men of some kind an o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin, an abode, and a means of life, the purpose for which this earth of ours came into being” (Plutarch, On the Face of the Moon)

="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphors for the silence of the space ='lgc'>='lgc'>--> perennial ="trms">question of humankind

the black sea sparkle with lustrous fires, like the ceiling of a vast hall of ebony encrusted with flashing diamonds
with what a soft sweet light every star glowed
no ="trms">matter what its magnitude, the stream that flowed from it looked calm and holy
not twinkling
no scintillation
no nictitation
disturbed their pure and lambent gleam

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

night dreams (after WIELS's exhibition)
starting with the ="trms">story of the jinn studying o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of ="trms">species ='lgc'>='lgc'>--> ="trms">bestiaries
mix of reports from Hedayat'neyran="trms">gestan ='lgc'>+ ="ppl">Shamlu's ketab kuche ='lgc'>+ Marzolph's topology of persian folklore ="nms">iranian ="trms">stories ='lgc'>+ ="nms">ajayeb ="trms">stories ='lgc'>--to='lgc'>='lgc'>--> ='qstn'>?

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

jin lamp
tree
scared face

="trms">book Skala='lgc'>:
royal fairy tales
baba jaga kostliva noha / bony legs


the first worm

death skeleton afraid of itself, of its own image
self-reflective

you are following, while being followed, and the one who follows you is being followed...

pop-up ="trms">book
="lsts lst1">•endless doors (on top of each other)
="lsts lst1">•rotation='lgc'>: https://vm.tiktok.com/ZMR4VTo8s/
="lsts lst1">•rotation='lgc'>: https://vm.tiktok.com/ZMR4Vp8Yb/
="lsts lst1">•https://vm.tiktok.com/ZMR4Vw7qk/
="lsts lst1">•https://vm.tiktok.com/ZMR4VttgH/
="lsts lst1">•moon https://vm.tiktok.com/ZMR4VV2CC/


="lsts lst1">•Philippines ='lgc'>='lgc'>--> ="trms">aesthetics of poverty ='lgc'>[culture of ="trms">material poverty ='lgc'>='lgc'>--> poverty as scenic design and working philosophy='lgc'>] (='lgc'>==> the imperative to eliminate nonessentials ='lgc'>=/= my philosophy)
="lsts lst1">•="nms">Iran ='lgc'>='lgc'>--> ="trms">aesthetics of ='qstn'>?
="lsts lst1">•(='qstn'>?what is) In="trms">stagram or TikTok people's appreciation of beauty ='lgc'>=/= ="trms">aesthetics of poverty's coupling expression with survival and change

='thdf'>the idea that becoming sensitive to the ="trms">aesthetic qualities of local ="trms">materials ='lgc'>==> increasing one's power of expression

theater director='lgc'> = ="trms">aesthetic coordinator='lgc'> = sensitivity ='lgc'>+ selectivity

scenography in artistic research
my early ="trms">interest in ="trms">stage design ='lgc'>{='lgc'>~ use of backdrops in capturing the essence of a play or ="trms">story ='lgc'>='lgc'>--> a way to ='strcls'>*establish setting='strcls'>* ='lgc'>[='lgc'>=/= s="trms">cene='lgc'>] ='lgc'>='lgc'>--> sense of (not necessarily authentic) ="trms">history, calling for the patina of ="trms">history='lgc'>} ='lgc'>==> my recent scenic paintings ='lgc'>--="trms">present='lgc'>='lgc'>--> ='strcls'>*visual stream of consciousness='strcls'>* ='lgc'>='lgc'>~= diorama ='lgc'>='lgc'>~= to capture the essence of a practice ="trms">interest optic ="trms">episteme (='lgc'>='lgc'>--> establish a setting to get caught ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lured)

(in ='mywrk'>my work='lgc'>: ='thdf'>assumption of)
="trms">symbolic use of visual elements ='lgc'>='lgc'>--> collective consciousness ='lgc'>+ revitalized forms ='lgc'>==> vision of a larger culture ='lgc'>: capturing a ="trms">gestalt='lgc'> = everyone can understand



="large lg3" stl="font-size:112%"> Shake, Rattle and Roll
romance, light sex, and comedy segments='lgc'>='lgc'>---laced in ="trms">horror
(Tolentino)

="trms">horror genre
='lgc'>==> big young stars performing non-iconic roles
='lgc'>='lgc'>~= (analogue of ='lgc'>[collective='lgc'>]) ="trms">anxiety (of nation='qstn'>?) ='lgc'>: making-do processes and mechanisms of ordinary people ='lgc'>+ imperative of profit and state formation
='lgc'>='lgc'>--> how (mis)governance get to be re="trms">presented ='lgc'>+ how citizenry is enforced and ="trms">embodied (at the ground level)

Philippines='lgc'>: from Marcos ="trms">dictatorship ='lgc'>--to='lgc'>='lgc'>--> neoliberalism='lgc'>: privatized, deregulated, commercialized, ="trms">marketized public services

="lsts lst1">•Crane using psychoanalytical ="trms">tropes ='lgc'>='lgc'>--> ="trms">horror='lgc'> = everyday terror
='lgc'>[='strcls'>*='lgc'>]="trms">horror='lgc'>: ="trms">excessive ="trms">communication
="lsts lst1">•Creed using ="trms">trope of ="trms">monstrous-feminine ='lgc'>='lgc'>--> ="trms">horror='lgc'> = ="trms">gestalten deeds in adjection and castration
="lsts lst1">•Lim ='lgc'>='lgc'>--> ='strcls'>*="trms">horror='lgc'> = temporal critique='strcls'>* ='lgc'>{fantastic local ="trms">horror ='lgc'>=/= ="trms">historical time, super="trms">naturalism, occult modes of thinking en="trms">coded in fantastic ="trms">narratives='lgc'>}
='lgc'>[="ppl">Bergson > Lim > Tolentino:='lgc'>] ="trms">horror ='lgc'>='lgc'>--> heterogeneous temporality, heteroglossia='lgc'>: multiple tongues, to disengage in certain (nation) formations

="large lg4" stl="font-size:110%"> horrific real
="trms">translation of ="trms">historical terror in filmic ="trms">horror

="trms">historical real ='lgc'>+ filmic mobilization ='lgc'>--render='lgc'>='lgc'>--> real as porous ='and'>& artificial

="trms">horror ='lgc'>--Tolentino='lgc'>='lgc'>--> trans="trms">historical (transgressional) continuity of the project of desire ='and'>& pleasure
='lgc'>='lgc'>--> masochistic viewing experience ='lgc'>+ ="trms">trajectory of critique

(during Marcos order in Philippines ='lgc'>='lgc'>-->) ="trms">horror genre talks about the popular dialectics of the known ='and'>& unknown, moral ='and'>& immoral, in="trms">="trms"nttrm="cluster,club">clusion ='and'>& ex="trms">="trms"nttrm="cluster,club">clusion, defeat ='and'>& triumph, struggle ='and'>& redemption, normal ='and'>& abnormal, reality ='and'>& alternative realities, ="trms">religious ='and'>& secular
="lsts lst1">•="trms">horror provides a cultural ="trms">trope for the ="trms">imagination of the nation

="trms">anxious state in ="trms">horror films ='lgc'>--re="trms">present='lgc'>='lgc'>--> ="trms">anxious state in ... (nation-formation, citizenship, etc.) ='lgc'>='lgc'>--> irony='lgc'>: (the ="trms">anxious state) it is not what it is
='lgc'>='lgc'>--='lgc'>='lgc'>--> ='lgc'>[='strcls'>*='lgc'>]viewing='lgc'>: a sadomasochistic act ='lgc'>[you know it is f="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rightful (or garbage) yet enjoy viewing (in KHM we called it hate-watching)='lgc'>] ='lgc'>='lgc'>--> ="trms">pervers pleasure ='lgc'>==> individual and ="trms">social ="trms">categories to remain constantly in a flux

="large lg5" stl="font-size:158%"> intensification of ="trms">anxiety ='lgc'>='lgc'>='lgc'>~=> carnavalesque moment of drawing pleasure

(in the film) ="trms">history of a chosen local
logic of absence ='lgc'>='lgc'>--> prohibitive ="trms">history of violence ='lgc'>+ ="trms">excess
ritual of horrific foregrounding

s="trms">cene ='lgc'>+ coherence of meaning
='strcls'>*="trms">horror is performative ='lgc'>: it needs to be re="trms">staged in order to be evocative of meaning='strcls'>*

sexualization of women ="trms">integral to the genre of ="trms">horror ='lgc'>[aimed at its male audience, similar to Charmed='lgc'>]='lgc'>:
="lsts lst1">•sexy female leading role (in ="trms">love triangle)
="lsts lst1">•man ='lgc'>='lgc'>--> re="trms">presenting evil and under="trms">world
="lsts lst1">•man ='lgc'>='lgc'>--> re="trms">presenting true ="trms">love (engaged in a battle for ="trms">love ='lgc'>+ choice of the young woman, sexualized in the male contest)
="lsts lst1">•female viacera sucker ='lgc'>='lgc'>--> female creatures need to show hidden skin ='lgc'>[popular sex-oriented star ='lgc'>--to='lgc'>='lgc'>--> female ="trms">monstrous figure ='lgc'>--allow='lgc'>='lgc'>--> display of prohibited body parts ='lgc'>+ heteronormative desire='lgc'>]

(female star rendered both strong and weak)
="lstsrd">1. exposing and defying [...]