Ellipsis #1

Step one: Approach

bench table plinth shelf rubbish heap

upon which publication resides.

Purchase

Step two:

trade for publication.

S    A W

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Step six: Feel

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boredom

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annoyance

and open cover page.

inspired by annoyed at bored of

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curiosity

Step four: Pick up publication out of

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steal

publication, and make a better one of your own.

□ □ Youone: wouldApproach have Step already seen this.

bench table

□□ (Not my teeth)

plinth

□□ You are here!

shelf

□□ Instructions. □□ Instate: Tactile Meditations for the Disconnected .

rubbish heap

upon which publication resides.

□□ What everybody wants.

Step □ □ A memorial.

Purchase

two:

□□ The cycle of everything. trade for □□ The truth about luck. steal

publication.

□□ Moody robot.

F U

T

R H

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I N

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boredom

□□ Dust.

T

annoyance

□□ NarrativePulse.

and open cover page.

□□ I didn’t understand / I don’t understand / I won’t understand.

Step six:

□ □ Google Whispers.

Feel

inspired by annoyed at

□□ (this is where I ran out of ideas) □□ Credits.

bored of

A T

love □□ Teaching my computer to dance.

S A W

I

curiosity

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Step four: Pick up publication out of □ □ There is Nothing in Here.

O

R U C T

□□ A place I visited in a dream once.

publication, and make a better one of your own.

Step one: Approach

bench table plinth shelf rubbish heap

upon which publication resides.

Purchase

Step two:

trade for publication.

S    A W

T F U

T

R

E R

I N

S

Step six: Feel

H

boredom

T

annoyance

and open cover page.

inspired by annoyed at bored of

A I

love

N

I

curiosity

Step four: Pick up publication out of

O

R U C T

steal

publication, and make a better one of your own.

INSTATE:

Tactile Meditations for the Disconnected.

These meditations are intended to act as a reminder that you are more than your bones, and the acrid static that shudders through them.

You will need:

—

◆◆ An open mind.

◆◆ A trusty pen or other drawing implement (no pencil – the mark must be permanent),

These meditations are intended to act as an intervention from; stress, stagnancy, uncertainty, the human condition.

—

Practice where and when necessary.

This INSTATE belongs to: If found, please bury it at a beach somewhere and don't tell anyone how to find it.

1. Transference.

Directions: 01. Stare at your dominant hand for the length of ten deep breaths.

02. Remove Self-doubt (as if shrugging off a heavy fur coat).

06. Transfer your Self into the pen.

If unable to do so, repeat steps one – two until ready.

07. Add to the communal portrait below.

03. Pick up your pen.

08. Return to your body. Stretch if necessary.

04. Name the pen.

09. Make your peace with the pen, and never see it again.

05. Connect with the pen.

10. Pass to a friend.

2. Traversal.

Notes:

Directions:

†† every dot in Field #1

01. Detach from Earthly living.

is a galaxy of stars.

02. Travel at your leisure from galaxy to galaxy (recording your trip with the pen).

03. Acquire the wisdom of Deep Space Travel.

04. Record the appearance / name of your new home planet /s in Field #2.

05. Remember to visit Earth every now and then.

F I E L D # 1.

F I E L D # 2.

Name:

Name:

Name:

3. SynĂŚsthesia.

Directions: 01. Look directly out through your eyes.

02. Do not look at what you know, 03. Look at what you see.

04. Make your eyes your ears.

05. Make your ears your eyes.

06. Use your newly augmented sensorium to draw what the sounds around you look like.

07. Put your eyes and ears back where you found them.

08. Make sure to thank your senses for their hard work.

4. Burden.

Notes:

Directions:

†† You are an elaborate

01. Place your feet on the ground (remove shoes, if appropriate).

i.

We are held in place by weight.

ii.

We are given place by weight.

†† Pulleys are transient

/ weight is eternal. †† Measurements are

transient / weight is eternal.

02. Feel the space between your feet and the ground.

03. Touch your pen to the starting point above.

04. Feel the space between your pen and the paper.

05. Slowly occupy the back of your shoulders.

06. Rest here; have patience. <You are now temporarily free from the burden of gravity.> 07. Quickly record your experience of weightlessness by whatever means you can.

Once you lift your pen, gravity will reclaim you.

08. Put shoes back on.

T.H

TA R

·S

we all share.

E

†† Weight is a burden

ER

system of pulleys.

M

IN

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.

I am optimistic about the sun. sun. sun.

sun.

sun.

the the

the

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about about

about

about

optimistic optimistic

optimistic

optimistic

am am

am

am sun.

sun.

I I

the

the

I I about

about sun.

optimistic the sun.

optimistic about the

am optimistic about

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IN CAS E YOU W E R E W ON D E RIN G, THIS IS PAGE 1 9

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6. An artist’s relation to suicide:

□□The artist should give and receive at the same time

9. An artist’s relation with transparency: □□An artist should be erotic

□□Transparency means to give

□□Transparency means receptive

□□An artist should not commit suicide □□Transparency means to receive

□□Suicide is a crime against life

□□An artist should not commit suicide □□Transparency means receptive □□Transparency means to give □□Transparency means to receive □□Transparency means receptive

□□The language must then be translated

11. An artist’s relation to silence: □□An artist has to understand silence

□□An artist should stay for long periods of time looking at the stars in the night sky

□□1 umbrella

□□1 mat to sleep on

□□1 pair of glasses if needed

13. An artist’s conduct in relation to work: □□An artist should avoid going to the studio every day

□□An artist has to create a space for silence to enter his work □□Silence is like an island in the middle of a turbulent ocean

□□An artist should not treat his work schedule as a bank employee does

□□An artist should have friends that lift their spirits

□□An artist should have friends that lift their spirits

15. A list of an artist’s friends:

□□An artist should have more and more of less and less

□□An artist should have more and more of less and less

□□An artist should have more and more of less and less

□□Silence is like an island in the middle of a turbulent ocean

□□An artist should not repeat himself □□An artist should not overproduce □□An artist should avoid his own art pollution □□An artist should avoid his own art pollution

14. An artist’s possessions:

16. A list of an artist’s enemies:

□□An artist should avoid his own art pollution

□□Buddhist monks advise that it is best to have nine possessions in their life:

□□An artist should stay for long periods of time at waterfalls □□An artist should stay for long periods of time at exploding volcanoes

□□1 pair of shoes

□□1 robe for the winter □□1 begging bowl for food □□1 mosquito net

□□The Dalai Lama has said that it is easy to have compassion with friends but much more difficult to have compassion with enemies

□□Enemies are very important

□□An artist should have friends that lift their spirits

□□An artist should stay for long periods of time looking at the fast running rivers

□□1 prayer book

□□1 robe for the summer

□□An artist should stay for long periods of time looking at the horizon where the ocean and sky meet

□□Away from friends

□□An artist should explore life and work only when an idea comes to him in a dream or during the day as a vision that arises as a surprise

□□An artist should decide for himself the minimum personal possessions they should have □□Silence is like an island in the middle of a turbulent ocean 12. An artist’s relation to solitude: □□An artist must make time for the long periods of solitude □□Solitude is extremely important □□Away from home

□□Transparency means to give □□Transparency means to receive

□□Away from family

□□The artist should not have self-control about his life

□□Sometimes it is difficult to find the key

□□Away from the studio 10. An artist’s relation to symbols: □□An artist creates his own symbols

□□The artist should have total self-control about his work

□□Sometimes it is difficult to find the key

□□Symbols are an artist’s language

□□The artist should not have self-control about his life

□□Sometimes it is difficult to find the key

8. An artist’s relation to self-control:

□□The artist is universe

□□The artist is universe

□□The artist is universe

□□The deeper they look inside themselves, the more universal they become

□□An artist should look deep inside themselves for inspiration

7. An artist’s relation to inspiration:

□□An artist should not commit suicide

□□An artist should be erotic □□An artist should be erotic 4. An artist’s relation to suffering: □□An artist should suffer □□From the suffering comes the best work □□Suffering brings transformation □□Through the suffering an artist transcends their spirit □□Through the suffering an artist transcends their spirit

□□An artist should not be depressed

□□The artist should have total self-control about his work

□□An artist has to learn to forgive

□□An artist has to learn to forgive

□□An artist has to learn to forgive

17. Different death scenarios:

□□The funeral is the artist’s last art piece before leaving

□□The funeral is the artist’s last art piece before leaving

□□The funeral is the artist’s last art piece before leaving

□□An artist should give instructions before the funeral so that everything is done the way he wants it

18. Different funeral scenarios:

□□An artist should die consciously without fear

□□An artist should die consciously without fear

□□An artist should die consciously without fear

□□An artist should look at the symbols of his work for the signs of different death scenarios

□□For an artist, it is not only important how he lives his life but also how he dies

□□An artist has to be aware of his own mortality

X 3

1. An artist’s conduct in his life: □□An artist should not lie to himself or others □□An artist should not steal ideas from other artists □□An artist should not compromise for themselves or in regards to the art market □□An artist should not kill other human beings □□An artist should not make themselves into an idol □□An artist should not make themselves into an idol □□An artist should not make themselves into an idol □□Through the suffering an artist transcends their spirit

□□An artist should avoid falling in love with another artist □□Depression is a disease and should be cured

2. An artist’s relation to his love life:

□□An artist should avoid falling in love with another artist

□□Depression is not productive for an artist

5. An artist’s relation to depression:

□□An artist should avoid falling in love with another artist

□□Depression is not productive for an artist □□Depression is not productive for an artist

3. An artist’s relation to the erotic: □□An artist should develop an erotic point of view on the world

Z 1

Y 48

W 38

R S T U V 332 454 519 130 67

Q 1

L M N O P 213 101 329 376 67

K 31

H I J 204 416 0

D E F G 167 460 124 52

C 88

A B 418 37

rs yo um

N

obody tells this to people who are beginners, I wish someone told me. All of us who do creative work, we get into it because we have good taste. But there

is still kille r. A n ur taste is why your work disappoints you. A lot of yo people never get past this d phase, they quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn’t have this special thing that we want it to have. We all go through this.

that every week you will o finish one story. It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions. And I took longer to figure out how to do this than anyone I’ve ever met. It’s gonna take awhile. It’s normal to take awhile. You’ve just gotta fight your way through.

And if you are just starting out or you are still in this phase, you gotta know its normal a n d th

e

n do is do a lot of work. Put yourself on a deadline ca s

is this gap. For the first couple y e a

e stuff, it’s just not that ak good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game,

st important thing y mo ou

LAYERS UPON LAYERS, LIKE DUST UPON A SHELF,

WHY WOULD YOU POSSIBLY WANT TO KEEP THAT TO YOURSELF?

I didn't understand

—

—

I don't understand

I won't understand

—

—

English

"The shadows of the real"

Japanese

“Ruddle ws you f want rare l”

Japanese

“Look-d tut ws so f bowl t is l”

Japanese

“Oo k over d one t ws its f pot wl t have s l”

Spanish

“Oo k mas de un d para WS su wl olla f t tiene s l”

Spanish

“Oo k mas de las Naciones Unidas para d WS Do wl olla f t Tiene s l”

Finnish

“Oo k mas de las Naciones Unidas para bws Onko WL OLLA f t Tiene s l”

Hawaiian

“Oo ke Kalapu mas de Ka Las Naciones Unidas para bws Onko WL Olla [illegible] na Tiene ka L”

Dutch

“Oo ke Kalapu Mas del een Las Naciones Unidas para bws Onko WL Olla [onleesbaar] na Tiene ka L”

I didn't understand

—

—

I don't understand

I won't understand

—

—

—

— Ellipsis 1 © Riley McDonald 2016

Credits: Pg. 22–25 Text by the well intentioned inhabitants of the Internet.

Pg. 28 ‘An Artists Manifesto for Life’

by Marina Abramovic.

Pg. 30 Quote by Ira Glass.

Pg. 39 Photo by Daniel Longo. @thedaniellongo

Typefaces by Monotype.

For S

I didn't understand

I don't understand

I won't understand

endRecord (); exit ();

—

—

Ellipsis

ISS. 01

Important!

See instructions, and ignore them

Designated operator

Moody drawings of robots

Garbled, nonsensical ramblings

Speculative wank

Other

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I, the undersigned, who came to be reading this by some strange coincidence, certify that the particulars given in this declaration are mostly true most of the time and that this publication does in fact contain as many dangerous articles as possible, to ensure my soul doesn't rot from exposure to too many advertisements for teeth whitener and health insurance.

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