RENDERING INFINITY

photo by DITA VOLLMOND, gif by NIKOLAI BLAU, live @ Hering im Speckmantel 2018

SLEEPWALK ON THE EDGE OF MIND

I was sleepwalking on the edge of mind.
Soundless footsteps cracked the ravelling path like broken glass.
Every piece and bit was parcelling truth like a diamond,
Mirroring blinks of brightness, flashing reflections of the past,
trying to gain some meaning in face of the present.

My eyes were obscured by the sight of a thousand cries roaring for help.
Every single shout as a fragment,
Teared pieces of regret.

I wish a tide could rise that style and high again.
Break at the crest
Then wash it all away.
Buried in a surplus of hidden tears
And well cultivated despair.

Far beyond the only song that played along was carrying on,
Stretching the horizon to a precise single momentum.
Its core breathes the dust of old memories,
vague insight and affairs shuffling infinitely.

A state in which only that changes what I'm holding most dear.
A dreams-come-true of all I have ever wanted to achieve.
A smashing ride to the end of all senses peak.
A sleepwalk on the edge of mind,
A silent empire out of reach.

3.1.7
'A SILENT EMPIRE, or: THE IMPERIAL MIND'
music conceived, performed/programmed and produced by HENRY BONES
spoken words: voice and words by THOM YORKE,
taken from a documentary by ROB HODSELSMANS
artwork by NIKOLAI BLAU
this is a RAUM VON ZEIT UND GEIST production

1a) The relation between “producer” and “listener” is inextricable, but vulnerable to outside factors and influences.

1b) The producer enables a possible bonding between the listener and himself, thus creating a margin of the new together.

2) Nowadays it's pretty easy to share digital files via the web / in digital domain.

3) In theory, there is a fundamental difference between sharing and exchanging, especially concerning the previously mentioned relationship.

4) In reality, the quantity of downloads does not necessarily affect the producer, listener or their environment in substantial ways, in the sense of neither bold advantages nor disadvantages being involved. Effectively there is neither loss in quality nor quantity caused by downloads.

5) In the digital world we live in today, compensating the production costs of a creative product by charging its listeners in any form, doesn’t necessary influence the non-material quality of the record, its probability of completion or guarantees it’s sexiness and impact as a cultural factor. Furthermore it won’t help the producer, the product or the listener in becoming independent from outside factors and influences.

6) The producer’s expense in enabling possibilities for margins of the new should be compensated, but not at the expense of the possibility of the linkage with the listener, or the margin evolving from it.

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