Entering the Space

Mind is a passive, pattern generator. Passive, in that it operates without direction. Pattern generating, in that it produces coherence and story out of form. When stripped of conventional narrative devices -whether in visual art, music or text- resistance arises in the viewer. A resistance born from a breakdown in existing conceptual structures and often manifesting as frustration, boredom or a desire to simply be somewhere other. TPOI offers an invitation to stay.

The price of admission is curiosity. An opening to possibility. A readiness to allow and a preparedness to experience. All that you will witness will be unmediated creation. In the film this is self evident. Nothing is premeditated. All who appear are oblivious to appearing. Everything that occurs in frame represents a unique, never to be repeated expression of the cosmos.

But it is equally true of the soundtrack. This is music intimately born from a space free of conceptual constraint. Evolving as a conversation between parts, as an analog to the very conversations (both aural and physical) taking place on film. The soundtrack was recorded over four months with no reference to visual cues; simply an evocation of the very living space out of which the film arises. It was as if both times were simultaneously present or, more accurately, there was no time separating each event.