To see all is, maybe, to see nothing… and thus, a view from the afterlife…

Calling to thoughts Luigi Russolo’s Dynamism of an Vehicle, and the Futurist Manifesto’s delirious promise of energy via technological singularity, the works in Kingdom Come seize as a substitute a futurist melancholia—the onslaught of the on a regular basis rendered as an immersive VR. The tableaux included—a crosswalk, a supply van, a lingerie commercial, an condominium staircase—had been constructed utilizing a smartphone’s panorama characteristic. To supply this sense of a wider view, the impact requires fragmentation and reassembly. Photos are damaged, time stretched and compressed. The panorama has grandiose aspirations: to seize all. However an unsettling distortion emerges on the seams. A intestine feeling that totality can’t be merely a grand sum of so many views.

New York Metropolis is a becoming topic then, a throbbing Leviathan of particular person topics, every with a vantage, every with a wildly disproportionate declare to private house, property, web value, self-regard or the other, all tangible intangibles, surrounded then by the fabric reality of town—bricks, panes of glass, curbs, manhole covers, screws.

They are saying, he says, all rise should fall,
all born should die. All this flatten to an inch, fabricated from screws anyway, fabricated from items, in every single place then
return to items. Sorry!

A sure passivity is required, as most fashionable conveniences provide an inertia, an incapacity. One’s sense of being a topic of historical past is ostensibly verified by an output of about 20,000 pictures a 12 months, mysterious HEIC recordsdata in lots of instances, an quantity of fabric that might require superhuman processing energy to collate and composite into a virtually understandable life. Attempt to find your self then among the many mob of picture producing topics: canines marking the curb with piss, transferring on, pissing once more. Subjectivity reaches its saturation level. One yearns then for the divine photographer, an omniscient view, satisfying all must report, an incredible ledger, mmm, sure, it’s been known as the grace of god!

In all places glass, metal.
In all places pigeon, rat, roach.
What’s the similar right here,
similar in every single place.
Buddy. Acknowledge.
Coca cola similar.
Wristwatch similar.
Avenue nook similar.
Supply!
French phrases, English phrases. Equal, OK. I say, OK.
Café American.

He goes….
He goes hahaha, you possibly can’t go like that.
No. Don’t be no, OK.
Don’t be beautiful, OK.
Be not OK, be not yet one more window,
yet one more door.
Up, exterior, all the pieces up.
They are saying, he says,
all rise should fall. All born should die.
All this flatten to an inch, fabricated from screws anyway, fabricated from items.
In all places then, return to items.
Sorry!
Stroll, you see,
stroll understand how,
lease don’t pay, haha, OK.
Landlord lifeless, sometime. We pray.
Uptown, the Yankees play,
Bronx River Parkway.
Indignant, indignant, day-after-day.
The place I come to, they arrive,
they know.
Warfare away, right here OK.
For now we, they,
we all know the climate.
We all know the wind blows;
we all know ocean air not too distant.
We all know, OK,
freedom reign for many who pay.

Right here!
Exterior!
Downstairs!
Buzzer?
They go. Door Slammed!
Indignant now, don’t you be grateful, Kingdom Come, they are saying,
all is completed.

Don’t say in every single place metal. In all places glass.
You’re right here, round. Everybody.

First breath, final breath. In all places.
Darkish, then mild, then darkish.
Similar second, similar pulsing second. Similar hour.

Everybody fool. Lovely, beaming fool. Stand. Sit.
All the time return
All the time lease free from then.

All the time, occurring. Till by no means. By no means was. By no means as soon as. In no way.
—Win McCarthy

at Francis Irv, New York
till October twelfth, 2024