We can describe the thin layer between the one and the other world that preserves and finalises, but forms the completion and remains invisible. The border that no one perceives is the interface between two places that merge at it and thus become real. This layer can be circumscribed, tested, vaulted in multiple directions in order to hear what can be dilated, for how long and where, until the membrane becomes porous, cracked, permeable and clearly perceptible, thus thematising spatial acoustic perception itself: Making it vulnerable exposes it as defenseless and thus emancipates it at the same time. The original is created outside the common product. It remains unrealistic to the last and has the impertinence to be. Deleuze writes: “It is not a case of worrying or hoping for the best, but finding new weapons.” Perhaps in the future, however, the artist will be concerned with something else. Identifying the weapon as such and confronting it with its greatest nightmare: The unmasking of its involvement and entanglement in everyday life, its exposure in the unconscious, by forcing it into consciousness through artistic actions.
In 2008, I discovered that my artistic visions aligned closely with those of researchers in the realms of fundamental research, sociology, media theory, architecture, and cognitive linguistics. Through collaborative research and discussions, texts emerged as tangible outcomes, serving as extracts of these interdisciplinary explorations.