KS THE MAN WHO SMILED TOO MUCH #15 The immaterial figure


THE IMMATERIAL FIGURE

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ghost, or immaterial figure

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composed of material appearances

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which arouse the suspicion of the invisible

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and the sad separation of what is seen and  what is thought

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scene 1

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when it appears in our thoughts the immaterial figure is intangible

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it stands before us, mute yet full of language

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it really seems that it has the sweetest  secret to reveal to us

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something that will alter the sense of our gaze

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thus the immaterial figure stirs our deepest desire to meet it

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to meet it, to touch it, to embrace it

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but nobody knows how to embrace an immaterial figure

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we need a stage curtain

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it takes a stage curtain to get to the immaterial figure

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the immaterial figure casts a shadow on our thoughts

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but only a stage curtain welcomes the shadow of the immaterial figure

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that’s why we absolutely need this stage curtain

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all our love for the immaterial figure is due to this stage curtain

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the stage curtain is where our gaze merges with our body

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propelling it into the immeasurable immateriality of the immaterial figure

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scene 2

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some figures of the immaterial figure

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inevitable consequence of the unending past

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a shadow that is transient then concrete

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a nail grown on a thought

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juice of the interruption of movement

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profile of an unknown idea that takes on the  function of absorbing

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an impulse to slide down (whatever down might be)

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scene 3

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special effects of the immaterial figure

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it meets matter as its own breath

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it impoverishes the everyday reality through language

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it makes the body and the horizon coincide

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it breaks down the distinction between inside and out

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it releases tears from meaning

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it drives the urgency of being towards the nostalgia of having been

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and viceversa

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scene 4

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as the immaterial figure expresses its power

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spreading a sense of contradiction

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inspiring attraction between the concrete and the abstract

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dissolving the connections between time segments

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bringing together different forms under one image

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emptying the words for the sake of our magic

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scene 5

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we enter the domain of the immaterial figure

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it is like a landscape without measure

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without bearings

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with neither here nor there

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no reasons to stop or to go

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surface and depth are the same

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we could even become just any point of this landscape

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absorbed / sucked down by this landscape

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without knowing we’re lost

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without knowing we’ve dissolved

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scene 6

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we wander in the landscape

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after losing every reason for being (here or there)

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the only thing we care about is caressing the landscape

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the landscape, or rather the immaterial figure

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wandering is a way to caress the landscape

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a way to confirm our love for the immaterial figure

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to wander is to embrace and to whisper to the landscape  truths without sense

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that we do everything for the lines

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that we will give everything for the surfaces

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that we will die for the kiss of a ghost

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who knows if the landscape loves our wandering

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scene 7

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now the gaze is no longer the same

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it no longer needs objectiveness

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it is no longer afraid of absence

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it climbs without purpose along a line

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along a thought

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along a transparent distance

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it simply isn’t looking for anything

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a gaze outside itself and yet happy

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scene 8

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the mouth has words and kisses

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the skin has touch and feel

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the eye has nothing but its gaze

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the eye shows love for the line only by bestowing its gaze

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a gaze from one point to another

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and again from one point to another

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until each point is the same as another

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and all the line is covered with gazes

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long, gentle and leisurely gazes

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gazes without words or touch

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scene 9

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in the beginning it was a loving thought

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and the loving thought extended over the immaterial figure

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and the gaze tried in every way to overlap the loving thought

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thus trying to embrace the immaterial figure

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but the loving thought is higher than the sky

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a slippery sky

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scene 10

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delirium of the uphill gaze along the thought

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scene 11

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the gaze does its best

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it makes a somersault on the flower of thought

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incessant hypothesis of love

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without the benefit of any feeling

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the gaze always falls back on itself

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and doesn’t hold onto anything of the immaterial figure

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just a vague impression and melancholy

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scene 12

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perhaps the unimaginable will save the gaze?

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the end

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Pasquale Polidori, Allegory/Melancholy (The immaterial figure), 2019, video 37’25”.

Thanks to Mary Desmond who translated the texts from Italian.