Testarrangement (For Jason Lim)

by Boris Nieslony 2008

Was invited and welcome to read:
that the quantums are "quasi" swimming in the quantum- sea
whereout they jump and into the visible they transform.
Most of them are falling - back - unseen - into the lake,
only few materialize themselves 
and become world, sight and screen.


Test arrangement: 

Water is poured into an empty glass, a middle sized tumbler; from a water bottle, plastic, transparent 
and with a slight touch of blue-ish colouring; holding about a liter of fluid, water is carefully poured 
into the drinking glass. The glass is slowly but steady filled, the water reaches the verge and flows 
over in some areas of the glasses brink. The process of pouring is not at all irrupted. Water is still 
steadily poured into the glass and still continuously overflows the verge. 
Simultaneously with the non-abortion of the very process of pouring - a strange change of the altogether 
locality can be perceived. Along with the over flooding and steadily over pouring water, the perception 
of the "le lieu of destination" is swimmingly drifting away. The reflex, to stop the pouring, and the 
reflex to stop the overflowing is melting away in the time and space continuum and without any further 
instance opens up an endless timeless vastness. More clearly to be foreseen, that the glass is transcending 
and transmaterializing the overflow of water with its trickling out and trickling away, but also the perception 
space, thus being opened up, is so much vaster and the perception so much expanded and extended, but often 
wrongly defined as expectation. The space IS energy and cannot be defined or connected to any existing or 
known notional definition, IT FLOWS.



Test arrangement:

Some tumblers, middle sized, are taken from a box, a little carton, and are simply put on the floor. 
The tumblers are grouped around each other, about an arm's length is the defined range. One glass from 
the group is taken and deliberately positioned a little aside from the group. Another glass is taken from 
the group, held above the first one, an intuitive distance is chosen, alike the direct, vertical above each 
other chosen by intense glance, reluctance, then the glass is dropped. It falls and then into the pre-positioned 
one. The tone emerging, transounding from a slightly deeper, clearer one then trans modulating into a 
slightly higher and dumper one, conquers the room. The length and precisely timed period of this dumper-compressed 
sound compared to the falling glass is slightly transpanded in the personal perception. 

Another tumbler is chosen. The process is deliberately repeated with a minimal difference to the first one, 
defined as "have glass fall into glass". Likewise, the emerging sound differs only in minimalistic nuances. 
Dropping the 4th glass, next to an over clearly perceivable sound-gap - a short, high sound, the tone of a 
sudden evolving leap. The posture changes and the "gesture" slows down along with the grasping for the 5th 
glass. After its free fall - the little tumbler tower is shaking. The fundamental note transmerges into a 
variety of distinctively perceivable side notes and side sounds.
Deliberately using the means of slow-motion - a much more precise notion of perception is therefore consciously 
created, the focus on and correlating with the differences of timing within the repetitive process. 
The tower is no longer stringed vertical after the 6th glass, a slight aptitude within the whole body of tumblers 
and the shifting out of place, between the positions of the single glasses is definite and obvious. A more then 
alarming fluctuation after the next glass. My perception is in a span. I do not and cannot perceive whether more 
glasses or exactly how many more glasses are in factored in the process. 
Have seen, that the tower fell, as the vertical shifted; because one of the lower glasses splintered and have 
seen as well another time, the whole tower shaking, but then stood steady and all glasses from the group stuck 
one onto one, motionless and precise.  
"Span" = glass + adjustment + posture + gestus + fall / minus dexterity and minus calculation. 
"Span" here is precisely to think as: a time condensed and -coordinated special mass - no longer at all retractable 
back to any of its original conditions in perception.



Test arrangement:

A tumbler, filled with water, is held up with one arm, then quickly rotated about 90°, the content spilled. 
Faster then the time, that would be defined by gravity, the arm snaps down, rotates the glass into a position 
with the notch upside and catches the water back. The space of the deliberately and concisely spilling and the 
very catching back are more or less vertical, but only approximate, due to a certain amount of water missing 
the glass and being dropped on the verge, hand and floor. 

While erecting, hand wipes a strand of hair away, capturing as fast as possible the position that allows the 
come off the arm as fast and undisturbed as can.

The glass is rotated rapidly again, arm, hand and glass are down, open and recapture again a certain quantity of 
water, another amount gets lost. 
With the decrease of the retarget water quantity the concentration amounts. Vertical direction of the free fall 
is perceived with its celerity per glance, nearly adjusted, that as much water as at all possible is recaptured 
per glass. After many repetitions of that process, I did not count them, only some few drops of water are to be 
found at the bottom of the glass. The process is stopped, abandoned, when the last drop of water is lost, the 
glass held up - tilted - is empty - nothing is dripping.
 
To show patterns of movements as sensual signs. Meaning, only being extracted and deducted at all from the time 
wise adequate and equivalent, correlated to the patterns of movement. 

 
(These descriptions are conglomerates of various test arrangements with the same radix that I was invited and 
welcome to watch.) 


Boris Nieslony, 2008

translation: sibyll kalff, 2008
http://www.jasonlim.name/