excerpts from The Infinite Cycle of Human Nature
What if there is no birth and death, no chronological structure, no beginning and end? No linear derive. A cyclical collaboration of events and experiences on a globe. Can a series of detached sensory organisms form a sum greater than current reality? An embellished and oversensitive performance. Four elements performing separate scores, unified by their common stage. The linear journey we have derived can now be turned on its back to generate a simultaneous fabric woven with the threads of the four elements. A Central pivot point is established; the Great Pyramid is on display, four tunnels frame views of the structure while stemming beyond the perimeter of the stage from four opposing points. Displayed on the surfaces of the vast object are plastered images, representations of an isolated spectacle. The Pyramid grasps elusive sacred artifacts in its unreachable tomb, an enigma holding Grails, Covenants, Arks… Determined explorers forge throughout the desert only to find a specious door on the southern face, a cruel mirage created by the same overhead gas lines that comfort them. A sectional incision unveils the distant and inaccessible vault, a suspended illusion to every inhabitant willing to be fooled. The closest vantage point to the tomb is the edge of the battlefield, a wasteland marred with trenches, mines and corrosive gas. This desert wasteland is the flat world of superfluous aggression and naivety. The opposing north side of the Pyramid, concealed from the naïve, is jointed with the southern deserts exclusively by the hierarchal fire organ, a two-way gauntlet which provides immigrants for both territories. Unlike the Pyramid’s tomb, the massive instrument of fire is indeed reachable, yet the mechanism is exponentially farther than it appears. The northern face of the Pyramid glistens as the sun ironically reflects off the sublime oasis. Subliminal in size and temperament as the expanse spawns a terrestrial waterfall responsible for life and death. The falls are the primary source for irrigation, consumption and spectacular deaths. Surrounding the northern valley and climbing among the hills and mountaintop is the alpine community. A temporal retreat only utilized by the desert frontiersman or the climber; both technical and social. This “vacation” is an elitist voyage as the admitted continue to ascend and eventually sculpt representations of their ideals or accomplishments; projections of the inner self into the granite. Travelers peer over the mountaintop archive of symbols, statements and trademarks to see the framework of a new world. Workers are continuously constructing on the site yet there seems to be minimal progress, their father’s account equaling their own. The retreat’s duration directly corresponds with the occupant’s chemical dependency for hallucinates below. In search of curing their withdrawals, the travelers repel onto the various plateaus of the Arena; an enormous amphitheatre loosely connecting the north and south once again. Inhabitants of both worlds fulfill their addiction, their senses positively keener than ever before; a momentary ecstasy. This community of addicts is a spectator and subject to both the gas lines and the central stage below. A great wall acts as a boom; its kinetic nature generates a rhythm of waves that seems to be echoed in the musical performances conducted on the central stage. The backdrop of the stage grazes the shifting wall every half interval reminding the structure of its replacement. The backdrop is the old wall yet now acts as an adapted ruin unconsciously worshipped by the spectators throughout the Arena. As the euphoric high subsides, an inner drive replaces the binge, a desire constructed by sight. The gaze of the worshiper wanders towards the exposed tomb and a new cycle arises.