ghost or immaterial figure composed of material appearances
which arouse the suspicion of the invisible
and the sad separation of what is seen and what is thought


scene 1

when it appears in our thoughts the immaterial figure is intangible § it stands before us, mute yet full of language § it really seems that it has the sweetest  secret to reveal to us § something that will alter the sense of our gaze § thus the immaterial figure stirs our deepest desire to meet it § to meet it, to touch it, to embrace it § but nobody knows how to embrace an immaterial figure § we need a stage curtain § it takes a stage curtain to get to the immaterial figure § the immaterial figure casts a shadow on our thoughts § but only a stage curtain welcomes the shadow of the immaterial figure § that’s why we absolutely need this stage curtain § all our love for the immaterial figure is due to this stage curtain § the stage curtain is where our gaze merges with our body § propelling it into the immeasurable immateriality of the immaterial figure

scene 2

some figures of the immaterial figure § inevitable consequence of the unending past § a shadow that is transient then concrete § a nail grown on a thought § juice of the interruption of movement § profile of an unknown idea that takes on the  function of absorbing § an impulse to slide down (whatever down might be)

scene 3

special effects of the immaterial figure § it meets matter as its own breath § it impoverishes the everyday reality through language § it makes the body and the horizon coincide § it breaks down the distinction between inside and out § it releases tears from meaning § it drives the urgency of being towards the nostalgia of having been § and viceversa

scene 4

as the immaterial figure expresses its power § spreading a sense of contradiction § inspiring attraction between the concrete and the abstract § dissolving the connections between time segments § bringing together different forms under one image § emptying the words for the sake of our magic

scene 5

we enter the domain of the immaterial figure § it is like a landscape without measure § without bearings § with neither here nor there § no reasons to stop or to go § surface and depth are the same § we could even become just any point of this landscape § absorbed / sucked down by this landscape § without knowing we’re lost § without knowing we’ve dissolved

scene 6

we wander in the landscape § after losing every reason for being (here or there) § the only thing we care about is caressing the landscape § the landscape, or rather the immaterial figure § wandering is a way to caress the landscape § a way to confirm our love for the immaterial figure § to wander is to embrace and to whisper to the landscape truths without sense § that we do everything for the lines § that we will give everything for the surfaces § that we will die for the kiss of a ghost § who knows if the landscape loves our wandering

scene 7

now the gaze is no longer the same § it no longer needs objectiveness § it is no longer afraid of absence § it climbs without purpose along a line § along a thought § along a transparent distance § it simply isn’t looking for anything § a gaze outside itself and yet happy

scene 8

the mouth has words and kisses § the skin has touch and feel § the eye has nothing but its gaze § the eye shows love for the line only by bestowing its gaze § a gaze from one point to another § and again from one point to another § until each point is the same as another § and all the line is covered with gazes § long, gentle and leisurely gazes § gazes without words or touch

scene 9

in the beginning it was a loving thought § and the loving thought extended over the immaterial figure § and the gaze tried in every way to overlap the loving thought § thus trying to embrace the immaterial figure § but the loving thought is higher than the sky § a slippery sky

scene 10

delirium of the uphill gaze along the thought

scene 11

the gaze does its best § it makes a somersault on the flower of thought § incessant hypothesis of love § without the benefit of any feeling § the gaze always falls back on itself § and doesn’t hold onto anything of the immaterial figure § just a vague impression and melancholy

scene 12

perhaps the unimaginable will save the gaze?