Coming together or coming apart?

In the intervals there's a hesitancy that is in the air. Space unmarked is monotonous and in the end we blank it out. Perhaps the only way to rest in it is through the rips and tears, the thrusts and delays. How do we read speed and see it as a coalescence or a gathering of form? When do the pieces come together as a person recognisable as such? Or a flower, a building, a tent or a field? There's a permeation through one to another and the wider the intervals before any kind of resolution into what we are facing or what exactly a face is, the more charged is this frissure of meshing strands. Perhaps the resolution is a continual state of abeyance; holding things apart in order to attune to a song that is simply a passing breeze caught  through the branches of a tree.

The air is nothing but this buzz of tendencies that sometimes come together and sometimes seem to dissipate into the implicit feelers that are probing beyond their seeming reach and likewise are wrapped around and spun out like a candy-floss with no beginning or end. Maybe then it is more to do with itinerant use that is always on the move- and is somehow opportunistically grabbed into a certain kind of binding as it is binding something else itself. That would be a Deleuzian attitude with the Flower-Bee being a system stretched out amidst wasteland, back gardens and highway verges never known in any single object or location. The view is always necessarily limited- locked in and winking half shut an exposure that would be blinding and far beyond the perceptual currents that animate sensation into the events that we come to know and that we therefore become. But perception is always good enough - a haphazard assemblage that is apt in that moment in that way. Perhaps that is what Gibson is saying about Prehension.

I`d like to develop this dissipated- perhaps shattered- view as a way of addressing some of the behaviours and rituals of people who may in a more limited socially functional bias be seen to be doing non-sensical or inappropriate acts. How can reviewing the speed of approach and delay affect the way we perceive a jerk, a spasm or a breaking off of immediate contact. How can opening up the wider sensual and perceptual affective field contextualise these movements and alow for more variations of energetic occurances and their associative meanings?

How can playing with speeds begin to bring Autistic people into the frameworks of symbolic resonance which are partial, make-do and random and for this reason are common enough to be treated as cheap currency to be played with and then discarded again in the wider run of things in which there is this endless meshing and reconfiguration of involvements in even the simplest or most mundane of circumstances; such as making a cup of tea. This could break the value of obsession as a repeated narrow tract and let it run into a wider scope in which it is an imaginary "Take" on a theme played out specifically in that way at that time; with its own colour, consistency and flavour that in a sense can "Speak back" to the user.

Language then is not emitted out of the mouth of a comprehensive autonomous Subject with a motive in mind as opposed to the pathological repetition of an unchanging obsession. Rather it is an imaginary play of aggregate elements that come together in a certain way and throw up physical sensations, dissipated perceptual fields and associative flavours that call it into being as this or that kind of enactment. It is the setting of a stage that opens out into the imaginary and that creates charged image-words. The symbolic nature of this domain comes bit by bit through repetition and change to be recognised for what it is; itinerant and improvised collectivities bound together momentarily out of a wider field than could ever be subjectively and consciously grasped at that moment. There is a freedom in letting habitual constraints play out and become affected by the field in which they are a part- as an interdependency or co-emergence that cognitively we are never fully aware of and where a rational over-view is impossible.

In this sense rather than trying to air-brush away unwanted behaviour and thoughts, keep them exactly as they are but with the possibility that gradually over time- out of a series of seemingly identical images and gestures, the variations in nuance can be recognised so that the imaginary frame- that is too wide and too disparate to comprehend- starts to be acknowledged; even through the impossibility of actually taking hold of it as something that could be grasped or percieved in the ordinary sense.

This of course draws on Buddhist teaching, particularly Dzogchen and Mayahana.
It is a similar process to meditation that then throws up contemplation.
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Here than is the beginnings of an idea- that language like perception is always nested in a far wider field than could be directly grasped through language or perception. It can in this sense never talk about itself. But it can throw out multiple reflections as affective momentary states as they are actually happening. These always operate throug the rhythmic and spatial intervals of their occurance- in other words in "real-time". This is their pacing. Out of this pacing the conditiions of a specific imagistic-word play can be enacted and reflected on. But it is only in the gap between the image and the word- joined at a more basic level through luminosity and sound that a poetic meaning is suddenly distilled. This is a jump in scales and is always non-logical and does not follow temperal or spacial rules.

All later analysis must draw out of the richness of these distilled word-images that are deeper and more yielding than the word analysis they will eventually throw up.

Dyslexia can be addressed by moving through these rich poetic image-sound-environment-word domains as a battery-charger for more linear word narratives. These narratives- such as the one I am now writing- will only come about after a gestation period where this rich texture- like a kind of nutrient or compost- begins to filter and settle down through the kinaesthethic and visceral body-perception of the person who will then find themselves in the position of or in the line of the relevant words for the occasion. These will almost overflow or spill out since the conditions for their arrival have been carefully tended to.