ECLIPTICS IN THE HOLLOW FIST

the sun blasts the edge of the movable fleshy cavern, blasts into the middle right into the camera lens, totally blinding, a total white that in the prismatic moment bursts into the various colors, into the diamond’s trembling; what the lens offers, what the storage media absorbs, what the reproduction media lets out:
ASSOCIATION LOOPS: first of all, a birthing room with a poised moment, right before the joy of slipping out into the light; first it blinds, white darkness as a shower of addition:
second, isn’t a crystal growing there along the viewing axis? does the crystal grow inward or outward? the crystal of awareness? the peal of growth from addition and subtraction? the sound, the score from penelope messidi blossoms rustling, cracking alive and subsides, sprouting and sproutingly in electronic refraction, folds itself in a grinding-under the image and whispering-over the image into the silence of the film:
third, the cavity has been brought along and it is agile, the excerpt that it delivers has its own ecliptic, the sun follows its path along the edge of this excerpt, when it is not being pulled in, in the middle of the opening, an x (chi) of light but without a square blasts as a structure out of the lens, has a vertical light foot, like a windmill, like a slightly tattered pax-sign, the healing signs generate with the automatism of the camera:
fourth, the sun also inevitably blinds the philosophers; who chases the shadow in front/out of its drum, its cavern? proto-platonic? post-platonic? who sucks the shadow from/into which cavern?
fifth: pasolini’s oedipal blinding-shots and antonioni’s bashfully comical love refractions in the solar eclipse-montage:
sixth: elfriede gerstl’s first association: AWAKENING INTO LIGHT:
seventh: all that still shines in the associaton-filter, in the metaphor sieve: tenacious un-darkenings, organic-solar ecliptic intersection, a hollow fist cutting in and out the sun.

herbert j. wimmer, march 2005,

>link:Sonderzahl