THE CORPOREAL BOND

The World is as you are.

2007-02-25T20:45:00.000+05:45

interpretation occurs when the aquired knowledge of the audience/viewer confronts a text.

Tool | Live | 271106

2006-11-29T19:42:00.000+05:45

Tool | Live | 271106, originally uploaded by Dave Pasado.

Tool | Live | 27|11|06

2006-11-29T19:15:00.000+05:45

Tool | Live | 27|11|06, originally uploaded by Dave Pasado.

mjk (swing on the spiral)

Tool | Live | 27|11|06

2006-11-29T18:49:00.000+05:45

Tool | Live | 27|11|06, originally uploaded by Dave Pasado.

mjk (giving it some welly)

IMG_2204

2006-09-29T21:59:00.000+05:45

IMG_2204
Originally uploaded by Miguel Vahaio Rodriguez.

The Horses Penis

2006-07-11T19:04:00.000+05:45

The Horses Penis
Originally uploaded by Miguel Vahaio Rodriguez.

Behold in all its Holy glory, the Horses' penis.

The Body is completely subjective. Your body is like that of nobody else.
Profound and disquieting. The nonsexual roots of the pudendum evaporate before the eyes, inviting a seismic upheaval of the mind marked with the preoccupation towards the orgasm, the ambiguous landscape of the soul rendered obsolete. The body is the objective it is the result of repetition over countless ages, through sheer will alone, the eternal flame lights the way beyond subjectivity. Desires both negative and positve left broken in a collision so magnificent only the memory can remain.

THE JOY AND TRAGEDY OF HUMAN EXPRESSION.

2006-07-09T20:26:00.000+05:45

IMG_1739
Originally uploaded by Miguel Vahaio Rodriguez.

For those who know and understand.

FOUR EXTREMES | Chapter One/Two | Slapping/Paper

2006-07-09T20:04:00.000+05:45

'The resounding air of suffering clouds the human mind. Acts of pleasure are barstardised by the formulation of opposites, from such opposites we see a seperation from their intended use. That is why we feed of tragedy.'

Four Extremes
Chapter One/Two, Slapping/Paper
Multiple Projection | 2004
Running Time Approx. 15 minutes

MJK

2006-06-20T19:01:00.000+05:45

IMG_1323
Originally uploaded by Miguel Vahaio Rodriguez.

Shine On.

Tool | Hammersmith Apollo | 140606

2006-06-18T18:53:00.000+05:45

If you too like to extend your memory beyond the organic perimeters, please follow this link to more examples of visceral images from that particular evening. extend and share.

http://www.flickr.com/photos/mvrodriguez/

"SPIRAL OUT, KEEP GOING"
MJK Lateralus 2001

Tool | Hammersmith Apollo | 140606

2006-06-18T18:05:00.000+05:45

IMG_1093
Originally uploaded by Miguel Vahaio Rodriguez.

More visceral representation

Tool | Hammersmith Apollo | 140606

2006-06-18T18:00:00.000+05:45

IMG_1249
Originally uploaded by Miguel Vahaio Rodriguez.

Visceral representation.

Tool | Hammersmith Apollo | 140606

2006-06-18T16:22:00.000+05:45

IMG_0836
Originally uploaded by Miguel Vahaio Rodriguez.

MJK

1400606

2006-06-18T05:10:00.000+05:45

Tool, live, Hammersmith Apollo.
Apologies to band, but i must extend my memory beyond the constraints of the organic, therefore recording and sharing ensures the spieces continue unabated, endless and absurd.

THE JOY AND TRAGEDY OF HUMAN EXPRESSION.

2006-05-10T19:56:00.000+05:45

further aberrations |

THE JOY AND TRAGEDY OF HUMAN EXPRESSION.

2006-05-10T19:36:00.000+05:45

Aberration | Towards the Pudendum | Contaminated cylindrical terminals converging inward | speeding away from the body | images of the past focus at the apex, | indistinct edges reveal uncontrolled erratic recognisable shapes.

Short abberations between each chapter of the film. some lasting mere seconds others lasting minutes, often repeated.

THE JOY AND TRAGEDY OF HUMAN EXPRESSION.

2006-05-10T19:13:00.000+05:45

Abberation | Pyretic Vulvas

THE JOY AND TRAGEDY OF HUMAN EXPRESSION.

2006-05-10T19:03:00.000+05:45

MORE.

"...the bowels of convention, head first into the jaws of the standard. The innards of the significant collected together in a black box...... investing everything into the dimming of the organic memory."

THE JOY AND TRAGEDY OF HUMAN EXPRESSION.

2006-05-10T18:58:00.000+05:45

MORE.

THE JOY AND TRAGEDY OF HUMAN EXPRESSION.

2006-05-10T03:05:00.000+05:45

FURTHER VISUAL EXAMPLES OF FILM.

THE JOY AND TRAGEDY OF HUMAN EXPRESSION.

2006-05-10T02:03:00.000+05:45

The Joy and Tragedy of Human Expression
2005. Multiple Screen. Running Time Unknown.

A film so devisive the forces of nature would not allow it to bear form. Only the blurred edges of the film were left intact. The preamble audio/visual content are all that is left of this attempt to confront prejudice and learn from the disturbing concoction of nightmare and reason. What follows is a selection of text written by the creator in regards to and reasons for the film.

The moving image, more specifically the television has generated in its relatively short history an immense lexicon of imagery, sounds and text for us the audience/consumer to fill our meagre western minds with. Both cinema and television have evolved at a proportional rate for public consumption as technology has dictated.

There has always been a desire within the human spirit to delve into the phantasm, an almost animalistic regressive behaviour to return to a dream state where nightmare and reason are once again combined.

The nature of the cinema, the darkened auditorium, the magnificent white light blinding then leading the individual as a plural into a journey of either finite joy or perdition, shadows that of the memory of Man. Within the confines of the cinematic auditorium the audience give up all sense of individuality and are at the mercy of an unseen censor, the individual represents the entire human melee, and brings with them the entire spectrum of understanding required to be human. it is this understanding the individual brings to the table that enforces the cinematic and televisual forms.

The vast catalogue of imagery, sound and text presented to the audience at first glace, seems to represent an infinite dictionary for the consumer to apply upon their own lives. Categories and prejudices surround and divide our expectations of a programme, the division of subject matter has developed into a form of understanding built instinctively within the individual audience member, they (the audience) know what it is they are or about to watch. Images are captured but never contemplated, the narrative draws the gaze across the intangible temporal lines, subjects are so ingrained and frequently used that they are perceived only as repetition and never as the possible nobility of the creatively expressive.

THE ABSOLUTE IMPOSSIBILITY OF BREAKING.......

2006-05-10T01:53:00.000+05:45

The Absolute Impossibility of Breaking The Tedious Nature of Existance
2001
Multiple Screen Film.
Running Time approx. 50 hours

insurmountable placenta landscape

2006-02-09T05:54:00.000+05:45

representation of a thing

2006-02-09T05:43:00.000+05:45