Three 15-second increments of THE DANTE QUARTET
after Stan Brakhage


Black blood is flowing down saddle curvatures of foredeep & wedgetop & backbulge & forebulge, hell itself is scrutinizing through the chaos to a seascape, or the landspit of an isthmus bisecting sky and bay with the perpendicular masts of private sailboats bleeding white into the bleachingly white sky and hulls bleeding white into the bleachingly white stillwater, the relentlessness of the changing image—although with a consistency of illegibility or a saturation of preciousness is rendering each freestanding stillframe although a voluptuous inkspill full of textural complexity & halcyon hue inflection & allusive figuration is too obscurant in the rushing forth of more and more overwrought proposals—is urging attachment of the observer’s gazing to a particular syntactical unit with a structuring capacity—these units varying in distribution and location though easily identifiable—in this case the bursting airbubbles in ink drying, hell itself, the registration of the isthmus marina—although stable beneath the splatterfield—is receding from perception—although existing in the same laminiferous plane of illumination as the splatterfield, the eyes are experiencing the conscious sensation of shifting focal length drawing into the foreground, although it is an elective cognitive process with no physiological alteration to the ciliary body musculature—the discovery of a nearly unregisterable escalation of equatorial zonular tension—or lens—drybrush stroking through the thinness of the motley streaking to the pure luminance of the seascape is piling crepe foldings into crumplingly—festooning, wavecrashing, chitinous spiraling—colorgels of pineal fuschia, dryblood, snotbile and autumnal tallgrass shaftlike gallgreen thumbprint onto insomniac hot sweating bedclothes of sheer fabric atop a lighttable that is hell itself is quivering, the desaturation of a man’s gazing visage out from the isthmus within the definition of an embracingly dark hairdo, it is also ascertainable that this man is in possession of a body—possibly nude—but this discovery is only possible through methodical scrutiny, discovery of the man’s body is not consistently reproducible, black blood is pooling in the lowlands of crumplingly orogenic mountainscape and in each cell of the animation is the presentation of a different topographic image and a different limnoscape, geanticlinal up through the hematosphere, embryonic foldage segmentation is growing in a direction perpendicular to the regional tectonic urgency—although folding is not arising only from perpendicular collisions across the decollement.

A human limb is protruding from the motley hue cataract—this is visible only with the fixation on a discrete territory of the stuttering whirling mass is providing in general across its breadth too much information with such instability that the face of a ghoul is appearing in the peripherally perceptive glistening of the lacrimal carbuncle—anamorphosis of a porcine countenance is anthropomorphic—although upon direct fixation it is not a pig or a ghoul but the craters of airbubbles and the thickening of colorful foldings are desaturating into more significantly umber and scratchiness of fingernails or a stiff rag dragging through arid residue of shitstreak, with a total absence of a substrate landscape the seeming superimposition of figural liquids and scramblings of pigmentation are forming a landscape of themselves—a landscape independent from scenic expectations of this planet and requiring openness to inventive vocabularies, its application to a transparent or luminous backlight is not seeking the creation of an internal ordering of the terrain of the aperture but the active occupation of that terrain—the stationary streaking of bannerclouds & translucent flocculence of cumulus—whose thickenings are further scattering the composition—croppingly passing over of the colorful pixel arrayal, a solar dispersion regime of the horizon limning chilly hues of fuschia & dilution of indigo & glacier blue & purest blue radiation, from plodding to coursing, from aggregation to torrent.

A measuringly consistent cellular composition—each cell is containing wholly distinct deviations from adjacent cells—is binding the expression of the «Quartet», although the cubic dimensionality of the cells as an entire body are inconsistent, are consistent in general adjacency—in frenetic infill clumpings of rubble amidst the larger overall masonry that if not visible in conjunction with the more dominant cells is apparently in possession of its own inherent dominant logic, the logic of rubble is in its adherence to apparent disorder, the dominant geometry structuring the fluid masonry of hue is the cube—or, as an image, its cardinal orthographic frottage, a square—, is only visible in the imperfections of the rendering, although in such an unstable morass the imperfections are noteworthy for the discrepancy of their apparent precision and deliberateness, an orthogonal seam is jogging a cleft into the pyroclastic marbleization of viscous ink ejecta through the brack, whose distinctly matchless accidental figuration is existing only in one cell, the entire sequence—«the „forest dark“»—is constructing multiple cellular layouts in a threedimensional masonry arrayal, for the development of a cubic pigmentspace into a 12gon—a «HEX»—surgery is necessary on one vertex of the cubic unit where three edges are meeting and gluing of that edge to the end of the otherwise intact segmentchain of edges is foldable into the resulting dodecagonal 2manifold which is tiling into dodecagons in two offset rows with infilling equilateral triangles are registering with the next grouping of two rows of dodecagons—atop one another horizontal facet to horizontal facet—by assemblages of squares stellate with equilateral triangles, dodecagons horizontal facet to horizontal facet & vertical facet to vertical facet around assemblages of squares stellate with equilateral triangles, dodecagons in offset rows with infilling jitterings of squares semistellate with equilateral triangles on three facets alternating their empty facets—abutting the horizontal facet of the dodecagon—from top to bottom, dodecagons in apparent clusterings oscillating in foci between pods of three around equilateral triangles & pods of four around assemblages of squares stellate with equilateral triangles, dodecagons in two offset rows with infilling equilateral triangles are registering with the next offset grouping of two rows of dodecagons by jitterings of squares semistellate with equilateral triangles on three facets alternating their empty facets—abutting the horizontal facet of the dodecagon—from top to bottom, although achieving the highest density of dodecagons is through offset rows abutting their 30° facets with infilling equilateral triangles against their 60° & horizontal facets, these frameworks are serving as organizational lattices for the location of scalar honeycomb tiling of the demidodekeract—a 12demicube—the «K wythe» masonry tesselation of which is not possible because the gaseousness of the demicube is permeating its neighboring entities, the demicube is verifiably terminal however this realization is not apprehendable to the demicube itself thus the demicube is not acting as a discrete entity, the tendencies of this sequence—«the „forest dark“»—are evaluatable relative to the lattice, «the „forest dark“» is constructing multiple parallel lattice scenarios in accordance with the dynamic characteristics on gross exhibition in the personalities of the demicubes, expansion of «the „forest dark“» population is matching polygons with polygons & polygons with clusterings & clusterings with clusterings—the clustering on clustering permutation is leading to the mechanism of the «forest search»—where clusterings are nominally «Dblocks»—or «„Diploidal blocks“»—and «the „forest dark“» is terminal if no matching partnerships are remaining for the «Dblocks», this is resultant particularly in hendecasyllabic boundary constraints of stocksheets, generation of «the „forest dark“» is naturally extending from the definition of a «Dblock» and particularly the conception of a «Dblock» as a tree where all the trees are composing the forest, single branchings of «Dblocks» are coexisting in multiple trees.