The World and its Double

Gaby título

 

  • #PaisajeUlterior [#UlteriorLandscape]: A landscape after the landscape, after the landscape, after the landscape.
  • This text is not a text, because nothing that is linear interests me anymore.
  • This text is not a text because every explanatory practice is distrusted.
  • «A photograph is an image of concepts.» [1]
  • To see is to know something about the world.
  • “Gaze is the erection of the eye” [2]
  • Google search – Grammar of vision.
  • To see is not to see unless it includes the pause.
  • The pause and the constant questions that we ask ourselves when what we observe stares back at us.
  • One question: What has the right to be seen?
  • Soundtrack of the action.
  • In contemplation, the unsuspected permeates; this is the first of the ulterior landscapes.
  • To see is to create mirrors, as if it were the world and its double.
  • If the gaze is a forest, the pause is the sound that passes through it.
  • Los Santos is the city of the binary.
  • Constant blood and immortality.
  • The observable and the uninhabitable.
  • The real and the fiction.
  • And the code, of course.
  • Google search – The domains of the invisible.
  • Los Santos is a city without God, created by man. The architect is Rockstar Studios.
  • Los Santos establishes itself in the rush of robberies, murders, helicopter escapes and police chases.
  • It all sounds familiar. It is not.
  • Godard resonates. Two men want to go to war to kill. They return with a suitcase full of postcards.

 

 

  • Cheat codes. The trick.
  • Google search – the photographer’s involution.
  • Photography in GTA lets you handle focus and framing. It does not allow you to handle light, it does not allow you to crouch, it does not allow you to have a pulse, it does not allow you to capture anything with soul.
  • The ulterior landscape is not a treatise on the gaze. It is a study of confinement.
  • Of what is done behind closed doors.
  • In a box inside a box.
  • It’s the light of a light from a cave in a cave.
  • One question: How to redeem the bland?
  • Boredom is ___________.
  • “If prose is a house, poetry is a man on fire running quite fast through it.” [3]
  • Definition of psychosis:

[sahy-koh-sis] noun, plural psychoses  [-seez]

Mid 19th century: from Greek psukhōsis animation, from psukhoō I give life to, from psukhē soul, mind.
Psychiatry.

1. A mental disorder characterized by symptoms, such as delusions or hallucinations, that indicate impaired contact with reality.
2. Any severe form of mental disorder, as schizophrenia or paranoia.

  • Soundtrack of the action.
  • Old definition of psychosis: Killing people for a mediocre photograph.
  • New definition of psychosis: Letting yourself get killed for a blurry photograph.
  • Conditions of Illusion: “When the toy horse is leaning on the corner, it’s nothing more than a stick, when you ride it …” [4]

 

 

  • I’m on my way to the jewelry shop. Lamar joins me, his pockets full of bullets. “Let’s make some money!” he shouts out the window. I see a shadow in a corner. I jump out of the car, without braking. The asphalt is stained with blood that looks like syrup. I take a picture of it. I walk in the shadow of the corner. I take a picture. Lamar says “Wassup, homie?” I rob the jewelry shop. I shoot Lamar by mistake. I can’t kill him. Lamar is my friend.
  • New definition of psychosis: I only killed three people on the way home.
  • “This is not the best of the possible worlds.” [5]
  • “Today I will talk about the reality of the images.” [6]
  • Google search – What is reality?
  • Reality is a cage.
  • Soundtrack of the action.
  • One question: How do we materialize other worlds?
  • One question: What emerges from the pixel?
  • A life after a life, after a life, after a life.
  • To see is to transform perspective.
  • I’m on a mountain. I see the sea in the distance, the highway. Two deer feed on the grass. I go down. I fall. It does not hurt me. The deer are frightened. They run to the freeway. A car runs over the first one. A car runs over the second. A car finishes the first. I see everything. I get close. The deer’s dead. He was never alive. I detail its hair. I try to save the video. I delete the video by accident. I cry. Nothing supports my story.
  • Cheat codes that let you spawn The Buzzard’s helicopter instantly: O, O, L1, O, O, O, L1, L2, R1, Triangle, O, Triangle.
  • #GTAdocumentary: Marine wildlife in Los Santos.
  • Google search – Can you assemble a history of contemplation?
  • Yes.
  • One question: Does art reside in error?
  • “Seeing the movement of a man with his camera (or a camera with his man), we witness the movements of a hunt” [7]
  • The journey to the seed reveals that man was an artist and hunter.
  • One question: What’s up with the photographic act?
  • Cheat to shoot whales from the submachine gun: UNKNOWN.
  • To see is to know something about the world.

 

 

  • I’m waiting for the sunrise by the sea.
  • I don’t know if I am more interested in the sky or the sea.
  • Sunrises are not clichés.
  • Make an inventory of the world.
  • I go to the movies. I pay $ 20. The lights go out. Capolavoro (1963), a Mexican-Italian-french surrealist film, starts playing. “The unforgettable classic that nobody understands.” A man faces love and death. Incomprehension encompasses everything.
  • “… their own aesthetic, epistemological or socio-political criteria …” [8]
  • An inventory of the immaterial.
  • Cheat to be invincible (for five minutes): Right, X, Right, Left, Right, R1, Right, Left, X, Triangle.
  • Soundtrack of the action.
  • Caracas is not Los Santos. Los Santos is not Caracas.
  • Google Search – The Lyrical Landscape.
  • There are connections that respond to the order of the non-material.
  • One question: What’s worth apprehending in our heads?
  • Cheat to transform into Bigfoot: Play the game on a Tuesday, between 5.30am and 8.30am, while the weather is foggy. Eat the secret peyote plant. Try not to kill the last man.

 

 


 

[1] Flusser

[2] Lacan

[3] Anne Carson

[4] Ernst Gombrich

[5] Buñuel

[6] Hito Steyerl

[7] Didi-Huberman

[8] Flusser


 

About the author:

Gabriela Mesones Rojo (Caracas, 1989) holds a bachelor’s degree in Arts, with a mention in Performing Arts, from Universidad Central de Venezuela. She is a writer, editor, and visual arts researcher. Her writing has been featured in several digital publications in Venezuela, Mexico, Argentina, Uruguay, Colombia, Chile, Spain, and the United States. She collects pieces of blank paper and looks after long-living cats.

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