00.18 - 00.23
You know just this. You know where Carmens is.
00.23 - 00.35
So someone to the left who groans CARVIN, that's the one Ophioneus, one next door to the man who is right at the end.
00.36 - 00.38
01.12 - 01.29
So what's the difference between a sea urchin, a wide mouth jar, files, secret evidence, shells of various plants and animals, a neck vertebrae, the stomach of a ruminant, the pointed end of a bit, a plant and a kind of cake?
01.29 - 01.41
It's, it's, they're all traipses of one word which tell me more. Wait to read it. It's like Eki Eki something.
02.29 - 02.54
It's called it a common. It's called. But it's about the sort of hidden meaning in classical architecture, or more different parts of temples.
03.12 - 03.15
I suppose I've been thinking about it in your gallery .
04.08 - 04.57
There is something going on physically, you know, on a level that we don't quite understand when we make these movements. I'm thinking about the fake meanings or symbolism within architecture and the ho, ho, ho connected... is that the actual DNA or the physics of the object?
07.57 - 08.19
So they're on my hand and hold bake. Be in, be in that, in that area. It's almost like a gargoyle or an object within the architecture.
08.19 - 08.29
Two. It's not like, literally against the wall, but like my castle in between here. Both between the view of it.
08.29 - 08.53
But just like you're here, you're saying 'see the buildings here'. Naspers, yeah, I'm just thinking about this flattening of layers. It is flattening of an abuser on different mountains.
08.56 - 09.10
But I have been thinking about this kind of, Liras thing. And condense them to recall.
10.36 - 10.48
Stuff, yeah. Your mind goes in between an object and relates to that thing. It was seeing much favour, and your mind, kind of.
10.50 - 11.51
Summoning the image. Yeah. When you say a column but also a body that makes me think of a thing as well, and that sort of transference between words and between. The physical object, between the mind and that's kind of like layers as well, I guess. Then. See, this is. We can see the planes of existence. So this is a plane that we, that we are on and understand and can make sense of and then everything else flows on this other thing. Whatever it is. And the points where we interact with that, that's like a word and we know what words mean and we know words do something and then that's an object. And that's like thinking.
14.39 - 14.47
It just won't happen. But yeah, make it real. Conky. Yeah this is interesting.
14.55 - 15.00
Afon writing is always up.
15.00 - 15.12
And the way it's laid out is always very structured. This is for audio but it's still. It's just that the text is kind of sensual.
15.12 - 15.31
Santa. And it's amazing. A little bit different just because it's so useful to play. But from what I understand you're not going to shoot this script .
15.32 - 15.35
So you just do this, purely for you.
15.45 - 16.40
There is something about gardening and marble staircases. When I think of a guardian I just instinctively think of something wild and like, not natural.
16.41 - 17.06
But this felt that Kaburi architected. Chris. D.S. There were elements of what I've written about. Some Gazans like different styles of Guardians. Some styles are very light.
17.10 - 17.28
Actually in fact, you turn the corner .
17.45 - 17.55
It's artificial it's everything is is fabricated . And I wonder if that year had the thought of a garden.
17.57 - 18.24
Hills, lakes, yeah that's definitely the big human chair. Yeah. Yeah, I thinking that's where the lake started in Ikorodu. It didn't start on a hill or like a random wild place. It started in a planned place, kind of.
19.00 - 19.48
It says the perceiver is the building already. Received is as good an idea as you can see. In the membrane between the architectures and the mind, it's thin and there they become. And all of a sudden the perceiver is the building already. So. I'm really interested in the way in which a space affects the way you think.
19.49 - 20.11
Attaches itself in the shape of the space then it kind of breaks the membrane and the mind goes out. And it's like a blob but then hits the wall then it becomes the shape of the space.
20.15 - 21.06
This is kind of like a membrane paper that catches the eye with the stuff set on it. Between human, it's super thin and things can burst through and out. I wonder if they can... The membrane can sing and form. They get closer to this. It's that calm but weird.
21.06 - 21.30
I guess it was like a rat. Here. There's this dimension in this thing. Most of the time I've thought of this as the subconscious. Like a fully present but difficult to access thing that at points can kind of burst through.
21.31 - 21.54
In a good way with things that need to be noticed. But. Can we lower that membrane solution? Make more of a surface.
22.02 - 22.18
It's super intelligent and filled with everything we read and do and see. It's all in there.
22.22 - 22.50
This being a metaphor for just all things that are unseen and real. Like I'm totally convinced God does miracles and they're just as real as gravity is real. He's just working with stuff that we don't have a frame of reference for in terms of reality.
23.30 - 24.19
I really enjoy that stretchy feeling.
25.15 - 26.04
There have to be clues from some sense of reality. Does this idea match up with what I've experienced, Grandma, and I suppose that's what my reception to object to into dermatology is. A bit of flirting with that. That thing will end with the theory, with a bunch of thoughts that's someone else's and I'm trying to eat them.
28.32 - 29.08
Metal was being brushed and then bent. I don't know. I don't know why.
29.16 - 29.20
Fingers. So it is in my brain.
29.22 - 29.29
What I'm going to do, I think I'm going to make time.