There is an intermediate room between room 1 and room 2. Time and eternity strive to blend. It is a room of contrasts – hot and cold, wave and particle, obdurate and munificent, plasmic and predetermined. It is the room called 4, a gallery of the furniture of existence. Here there is form standing in the time of heavy things ticking like a set of Russian dolls. It is a place where you can hide stuff inside of other stuff.
Travelers of the present moment come here looking for evidence. There are those who come to hear something different than the echo of their own consciousness. They are looking for artifacts. Some come here because they’re tired of artifacts and hope to find something truly new. Some come here who have found in their body an entirely unknown something and wish to know more.
In certain places and times in this room there are works of art that have woven into their fibers the form of something beyond themselves. You might easily miss them amongst the rest. Some see only the furniture. Some see circumstantial evidence of higher dimensions.
The tricky thing is that here there are no perceptions. There is only the evidence of perception. The condition of the room between time and eternity is such that the forms are not living forms. Their laws are outside of themselves. They radiate heat. They spark and emit threads of discharge. Some things stand as the walls of Machu Pichu stand. There is plasma turning in octaves of space/time. Yet they persist not from an inner action, but from the persistence of their outerness. Things do not copy themselves from themselves. Their will is not their own. The lights are on.
There is a short film archived here of a woman bathing her child in a park with a city in the background. The colours are gold and red and blue. It is a long shot interspersed with closeups. It became famous for a time in a certain place, perhaps because of the immediate contrast between the emotional connection of the mother and child and the blue background hum of the city. There is also contrast in the location. Why is the woman intimately bathing her child in the park? It was famous also because of the fact that the actors playing mother and child were actually mother and child, the mother a famous star. Also, the film was shot not long before they were both killed along with others in an airplane crash under strange circumstances. This film was famous for these reasons, for a time. But it was not famous in the room called 4. In the room called 4 there is the evidence, which, of course, is not nothing. Yet, you can collect all of the headlines and still not solve the crime. Nevertheless, there is a good crossword on page 3.
To imagine a present moment without a door into the room called 4 is to imagine utter insanity. For even if there are loopholes and things that go missing from the evidence room, there is a measure of hope in the fragments of a story that can be pieced together from the surviving artifacts.