HEATS

Quintuple Dialogue

HEATS
Before you go into the water, you ought to see that it be clear, that there be
no scum or froth on the surface, what sort of bottom it has, that there be no
weeds or mud, for ones feet may be entangled among the weeds, or one may
sink into the mud, and the water coming over ones head, remain there, and be
drowned.1

1Melchisdec Thvenot in the introduction to LArt de Nager (1696), as it appeared in the 1699
translation, The Art of Swimming.

Fluidity
-

Transient

The Necker Cube

Inside
The internal essence of a singular object,
constituted by the space it persists to exist
within as a maintenance of self 1 as a
disposition of self awareness- is invited be
metamorphose as ostentatiously seperate,
detached from the conceived arbitrary field
of the mind. This shared relationship is the
intersection of shared spatial emulsification.
It is from within this instance, that the cognition of actuality can be accentuated, as a
continuous reminder of what our sensations
exclude, exemplifying a coherent perspective upon the world we inhabit, and the
relationship, and perhaps inter relational
tensions between human and non humans
forms. The empty space of space indeed
may not be so empty, in admittance of its
immateriality and materiality which arises
from the virtue and ontology of objects,
each entity is invited to render as the hybrid
of transcendental reality. The known and
mysterious affirmation of the temporal
moment we encounter and perceive the
world around us, and its perplexing role
in critically examining the objects which
construct our environment, and the objects
which inhabit; ourselves.

1 Nancy, J. (1993). The birth to presence. 1st ed. Stanford, Calif.: Stanford University Press. pg. 102

Necker Cube
Each part of the picture is ambiguous
by itself, yet the human visual system
picks an interpretation of each part
that makes the whole consistent, nor
is it twofold or threefold; its form is
fivefold. The Necker cube is employed
to consulate models of the human
visual system to determine an arrival
at consistent interpretations of the
image in a vein in which the synthesised exists.
Our vision, like our bodily engagement with water is suspended and
concentrated across our whole being.

Outside
Interior and exterior are mutually entailed to
their opposites exchange; by virtue of constructing a thing, we can consider things to
be placed within space but not surrendered
to a places animosity. The metaphysics of
substantial forms strived to explain natural
phenomena based on the allegory of irreversible facts and fundamental aspects of
reality. In understanding Object Oriented
Ontology, or the inherent being of objects
and things, theorising how they are surrendered to different concepts of space provides
a basis to discover their perceptual properties. The internal place of space is devoid
of matter, as the momentary slippage of
entering a spatial admittance (water) aligns
both our vision and bodily apprehensions of
sensural precepts. There are disadvantages
to this immersion. Outside of our motions,
the water grazes our rich terrain of skin,
communicating with our senses, and upon
leaving, engrosses its form in the depths of
our being. Objects and things are spaces in
themselves; perhaps they are quite simply
specific conclusions of a particular physical
process. Thinking itself manifests as abstract, an entirety that resigns in a wordless
state, a space without space; perhaps things
themselves strive to communication, thinking, and their own ontological place hood.
We acquit ourselves with its sensuality, but
quickly flee.

Plastic
Detached from its predetermined components, commodity fetishisms and reflections
of the post capital; plastic is a perplexing
materiality, one in which is amicable, pleasing, and function-able. It is the essence, the
stuff of alchemy without directly referencing The associations we construct about
its inner ontology; its inner parody. Trans- the faux substance remains blind to the
linguistic realm in which permitted, and
formation resides in plastics materiality,
thus questions our inherent semantic
counterposing its arbitrary finite territory,
associations with the cobs performato a state of the intangible, a realm of the
tivity; its admittance does not lie in a
unrelatable. The spectators gaze ponders
premeditated self awareness. In a sense,
across this rudimentary form, its physicality plastic is an event, a universal sign. We
one in which surrenders our visceral engage- irrefutably reject this appropriation of
phonological signs in which society so
ments to the limitations of touch and smell. lovingly employs to curate our pursuit
Look around, it holds and composes miner- of interactions and relational habits; not
als which cannot hold the gesture of harsh only does the body rebel against grafts
formality, the swimming pool, a container, or artificial replacement parts, but the
the windows, a space of con-vexed contem- mind too rises up against the synergy
imposed upon it by producing countless
plation of interior and exterior. A neomateforms of allergy1
rialism. Its form is subject to its transformation, its flux of intervention, from the finite
moment perceived. As a trace of moment, its
complex materialism transcends its significations, modalities, to a state of the impenetrable, a state of metaphysical. A visual discrenity. A banality which possesses to provide
an ulterior motif to the visual materiality it
encompasses; an acute reminder of societies
incompetence to accept decay, embodiment
of associations persisting within the utilitarian attributes as a paradox, regurgitating the
natural world to an inferior realm.

1Baudrillard, J. 1996. The system of

objects. London: Verso.pg. 71

Roof
Coneleament of interior, convexed commodity which creates distance division of man
and nature. It is from within this instance,
that a notion of a quadruple object can
come forth as a metaphysical turn in sustaining the relationship between two objects
(in this case of archival knowledge) and the
space it emancipates, and thus opens. It has
been established that a space exists between
human and nonhuman forms, a grey area of
an unobservable principle via our consciousness. The naked purity of this intersection is
via the object perceived in the static instantaneous moment, and the bridge between
this substance and the world that lies beyond
it. Layers are bound by an inherant understanding of inside and outside; the seperation of entites and combination of substance.

by all the denseness of its molecules,

by the creamy, and therefore soothing,
nature of its spreading [] milk is
cosmetic, it joins, covers, restores.
Moreover, its purity, associated with
the innocence of a child, is a token of
strength, of a strength which is not
revulsive, not congestive, but claim,
white, lucid, the equal of reality.1

The immanent constitution of things, binds

our perceptual orientation of objects to the
forefront of our gaze, querying the spectator
to meditate upon their own inherent ontology, as matter and form are instilled, somewhat mysterious as associations become
futile, and lost in our perceptual translations.
It is from within this instance that objects are
outside human consciousness, but their being exists only in human understanding. The
being of objects is the irrefutable struggle to
interminably gain access to their modes of
existence.

1 Henry, M. 2008. Material phenomenology. New York: Fordham

University Press. 43

Body and Action

Water is a distilled instance. The semantic
appropriation of its materiality generates
displacement. It is neither of concentrate
derivation nor a material representation of
its first origin, as the mind does not cease
from considering the original matter as an
enigma.1 The lost object which the subject
desires and can never be attained; a horizon
beyond the mundane; forfeited within the
void of obscene commodity consumption
as a profound discrepancy. It is a peril to
diversity, a symbol of the threat it subtly
encompasses, as a homogeneity that has
been implemented by the reign of industrial
capitalism.2 The swimming pool is a layering
of desire.
Swimming performs as the action which
merges with the waters form. As the body
intertwines with this substance, their perceptual kinaesthetic functions search for interrelations, traces of its authentic commerce, the
connections detected between the singular
of the origin and the plural of the effects,
vacantly defecting a void of disarmament, as
a dispute of a transcribed reduced state. Its
inner core is in fact a hollow ozone, thus it
abandons itself to the primary virtue of the
spectacle.

1 Barthes, R. and Lavers, A. 1972. Mythologies. New

York: Hill and Wang. pg. 94
2 Simon, J. and Altman, A. 2013. Neomaterialism.
Berlin: Sternberg Press. pg. 21

Quintessentially, humans and nonhumans

can be subscribed to a concurrently similar
vein -connected to each other- historically
and by virtue of the spatial circumstance in
which constituted. Thus opposing each other
in this metaphysical sphere of space renders
their form and their materiality as only one
contributing factor in understanding their
perceptual qualities. By attentively contemplating objects and their established essence,
their meaning and significance become
fourfold and the unity of each substance
can render propositional statements about
the world. In a sense, objects communicate
associations, and could even be considered
to have their own language; to talk. Thus,
thinking itself manifests as abstract, an entirety that resigns in a wordless state, a space
without space; perhaps things themselves
strive to communication, thinking, and their
own ontological placehood. A placehood goverened by the fluidiy of water, the enterprise
of movement, the engagement of the body.
The steps lead up to a surface of deviance; a
sublime grey plane absent of personality.

De-objectifications of water. Grey is

the colour of indifference. Convexed
alienated entities, molecules which
lean on eachother. A commentary on
the mundane.

At the intersection between subject and

object, the representations transcribed to
the matter of things derive from the spatial
dimension in which we (the body) inhabit.
By not directly referencing physiological
tendencies of iconism, this articulates the
internal referents of a substance in question,
as the affirmation persists: how does the
function and form within modernist ideals
concede objects to alter through iconicity?
Their archiving, relationships and our experience of their form constitute as an effective
high modernism, initiating object seeing,
as the void between substance and ideas.
Through the notion of alien phenomenology,1 the metaphysical restates convictions
and determinations of ontology, proclaiming
the human (object) to come into being and
move through this eradicated field. Iconicity is the substructure where the conceived
dynamic plurality of associations are rigorously negotiated, restating the convictions
and implications of our perceptions; perhaps
as an object of its own, governing models of
space; a reality in itself, for itself.

1Baudrillard, J. 1996. The system of objects. London:

Verso.pg. 71

verb
noun