Turn into say
some dough
today
my favorite day
excited
so I exited
so in my mind
the dainty fingers
handshake with no vigor
immersed me
or I immersed
oh I don’t know

no no
don’t dwell

peculiar and far
literally senseless
ridiculously fuzzy
ridic_ulous
literally senseless
must resist to conquer

under the impression
gonna go lumpy
man made history
a special place for sympathy

_


In other words
for what was kindly called
a long delay
of what’s kindly called
oh I don’t know
no boss wants
no thing
and yes
the trade
was made
despite
no deal


under the condition
gonna go lumpy
late state fluidity
of maniffould identity

_


Sassy pattern
chunky panorama
expectation
is ugh
expectation
is ugh so high
glopping
lapping
lacking reference
hence you have a face
analogue
to otherwise

no no
don’t dwell

peculiar and far
literally senseless
ridiculously fuzzy
ridic_ulous
literally senseless
must resist to conquer

under the condition
under the impression
gonna go lumpy
gonna go lumpy

Takes place


crisp sky
yellow sun
wind is lingering along the beaten path, in thought, disassociated from the cities organization of life and material
attempting to think the unthought route, through the gap, back in time
thinking


:this is not my world


For distraction gathering up some land-dust, speaking to it as if animate


:where to put you


Looking closer at the options


:there’s traces of bad history here and there, making a point in being bulky, inert things that know their incompleteness
that are foreseeing the coming as another day held in place by potentially being of dramatic importance

there’s eaten alive offshoots in hotbeds, conduits providing water, rivers blasting through some underground
reproductive scenes

there’s building sites, buildings in the making, on top of it all


Pausing, trying to think a place that knows no difference between old and new


:I think of myself as a lover of the park. Me in the park is like a dog in the park


Squeaking inwardly like it all having been there always, waiting to be picked up, like warm convenience, like a shirt ironed seconds ago
..
realizing that the dust needs context


:you need a job as long there is vacancy. Get a life. Take the train. Many things happen on the train
I mean it is important to participate


Assuming a stable structure of common values pointing towards ideal condition, then strangely eager
wind to itself


:you yourself should step forward


Feeling entitled while the likelihood of this being inappropriate is lurking in some background


:to all unacknowledged organisms actually out there


No one listens to the wind


:I’m talking to dust


Dust, unskillfully summing up its intention to participate, yet to understand the above mentioned on its own terms


:what?


Wind, quite shocked


:did you hear all this ?


Dust, having already left the winds stream
to itself


:when time does tidy I will be in peace. No shape, no land

It is a certain level of trust that I'm thankful for
presence comes from present
authority from distance

Keeping those proportions constant this is a proposal for a film called A Misunderstood Century that as protagonists introduces a set-up of four typed characters portrayed by individuals casted in Tokyo and Berlin on mornings that bear a certain clarity

This will be

Two young Tokyo Street Fashion Victims who in their theatricality of theatricality are paralleling the following


an understanding of identity as in transition more than less
self as solid
euphoria for changeover


And two middle-aged punks from Berlin who in their theatricality of anti-theatricality are paralleling the following


a binding neutrality of the notion of ones embeddedness in historical circumstance
resignation of aspiration
greater adventure


Contemplating the definitions of belonging to and longing for as routine or mere fiction, the protagonists will with their expressiveness in style, peaking performance of interiority, way of life, suggest a responsiveness of category within boundless happenstance.

After having been casted they will arrive in New York. The search for a suitable setting for the film followed a fascination for historical interior design of the era of the Second Industrial Revolution- also called Gilded Age. From 1877 to about 1900, the Gilded Age describes the rise of an elite society- people that by grooving in with industrialization made it to extreme wealth. The interiors of their households and private social clubs then were largely influenced by the designers of the Aesthetic Movement. The eras predominant ideal of progressiveness, on the one hand seems to be contradictory to the households interiors shapeliness, on the other hand incorporates an aestheticism as necessary consequence of moral sophistication, a private sphere in opposition to an economic complexity, a coarsening outside. These interiors, their organization and stillness, will be employed as backdrop within which the epochs resonating impact, their intertwined notions of artistry and social life collide with the characters’ appearance. The resultant density leaves no space between notions of endeavor and despair.

The protagonists- despite all determinisms brought with them and layered around them- will sit to talk. Tacit reciprocity; lacking the ability to articulate and with that articulating something beyond its recognition as lack; having no dialogue in a language which is none to frame non-descriptive content and doesn’t present futurity as necessary narrative consequence of present tense; silently reconsidering e.g. the mechanism which makes it possible to shut doors without greater effort. No voice to reveal drama behind drama.

There will be a heavy dependence on a knowledge of what is likely to be said. The atmo- instrumental interpretations of common-ground-morality-songs mixed with new-romanticist lyrics in such high pitch that one cannot understand a word- will only suggest that someone is addressed retroactively.

Possible filming locations for the gathering of the four individuals are reading halls or bigger lounges. A certain vastness of the room is important to keep a distance to the details of the singular interior objects and their function. This is to secure the audiences relative secludedness from the scenery itself. Only the characters provide the viewer with access to a somehow alien culture. They will be shown in 'Profil Perdu‘-a profile in which the subject is more than half turned away from the onlooker- and swallowed by the weirdness of the interiors visual hermeticism. Since there is no facial confrontation, sympathies will remain unformulated and unresolved.

The film will become an introspection that remains self-reflexively static in its inefficiency to provide voice. The camera will reflect that by being itself static while on the other side emphasize films promise of a just-about-to-happen as erring within unknown eventfulness on exclusive territory. After some minutes the surface tension of filmed still image gets stirred by a minimal movement of the camera adding a suggestion of a narration; It is a light headedness, a slight slump interfering the otherwise pending. I would like to keep the interpretation of this movement open to be one of the following


Loss of posture in a moment of apathy
The effect of imposed dormancy
The consequence of sweet idleness


After the camera has moved it will recover and return to a static position while continuing to film

After show roaming on fields covered with plants that border the harmful
the more time spend on that field the higher is the chance of rashes
this is generally difficult to predict as nature sometimes loves being

In acknowledgment of a potential corruptness of the crop the group silently begins to formulate an ambiguous critique
unresolved like melodic ‘huh huh‘ as being touched by mind thought driving roundabout some body street for days and nights

soon swaying to and fro in crescendoing murmur

info sloppily hid more deep groans
placed beforehand casually to be rediscovered

focus on an eager figure somehow central to the dynamic

speaks up:

it's easy
things we want to see growing is kids
things we don’t want to see growing is cancer

Other voices now flickering in the background slowly replacing the approved with an equally tempting adequacy of vague insight through determinately sharp whisper

guess it goes:

cranky man
man in public
closing doors gently
you’re still empty


soon the speaker was removed from the scene
to then return heroically sobered
unbreaking hearts

Haunting yet soothing



:decomposing lime
whenever I see you
I do not just only stare

its not too late

where can we go
to forget




refrain squeezed through smug smile




:world is a junkyard giddy giddy giddy thing totally free cruising fortune slot machine




voice finds itself kind of sweet




:oo oo ooo a aaa a pologetic face



_




bright voice of an angel unnerving




:brown lime brain
how could I have seen you
I only stared

its too late

where can we go
to forget




refrain squeezed through smug smile




:world is a junkyard giddy giddy giddy thing totally free cruising fortune slot machine




voice finds itself less sweet




:oo oo ooo a aaa a pologetic face

Cave like scenario cave people all around







brabble







leap from performative nakedness to nakedness with thermonecks
resembling the deliberate aspect of the look of a light-colored dog with a reddish ruffle







loads of double-talk








now again like wilderness the whole group doe-eyed prospective
conspiring to develop some spoken miracle or good reason

General stretching in preparation for dance interlude
laid down silk scarves form a pattern no definition for that pattern but everything valid
pretty standard dramaturgic decisions like fully costumed reenactment of some present tense scenario dedicated to people flow and anxiety x y gameplay
music is mostly bass drops lyrics hardly audible dealing with modernity or relationships refrain goes like but they didn't








untrained muscle flexed a foot leaves the ground
abrupt stop shaking long hair not really moving the head








four plain straight steps forwards backward sideways
abrupt stop utmost unpretentious wink blends into yawn








sedate and dignified dancing
abrupt stop unassuming face







peculiar leaping step
abrupt stop sugared drool instantly collects dust

:which there isn't



:why insist

Wetter fur to be laid upon an apparatus that won't take it easy
whose larpy volition interrupts the drum circles fervour
signals that cannot compare with the great diversity of pictorial essays about the agrarian ages early farmers body poses implying sexual activity or doubt

:Life s good to you m'lady?



pouring some
pours it over cloth and table everything



:am I overdoing it
I think I'm quite overdoing it




almost calm voice
huffish still genteel



:leave it



rolls from one side to the other
complacently murmuring still audible



:last night I slept in a goose-feather bed
the sheets turned down so bravely
can't really tell what happened
it seemed I had sold alt some delete a butcher some meat
as if it happened



weird peace



:as I woke up things have changed in that particular order
nada instead of prada




different sounding



:I will get five geese
give them names
daisy or mercutia or rodney
I'm afraid they wont fly though no plot no gravity



like really dealing with it



:like there would be something to deal with
like credit to waste
like joyful