What can the shore can tell me about aesthetics? The question is not only as a way of sensing in the world effected by such excitation, but the excitation itself as aesthetic. A proposition: that the constantly changing and restless ground can be translated into a vision of relations of nature, for what is existing exhibits the tumultuous. Nothing is ever itself for very long.

The excitation strips my ability to go through the usual channels of transmission, having the tendency to exceed the abritrary codes that carry their own (formal) principles for endoing and decoding. The human-made world of signs begins to erupt from tectonic pulversizations. That is the geologic. It privileges no particular standpoint, let alone a human standpoint, being prior to the human forms of culture. This is because it encompasses and enables the human process.

Living near the shore offers a unique perspective. It appears as a churning force. It permeates into the body, the skin and the senses. The liminal landscape never lets you go.

The turn of the head from left to right unfolds the panorama: the horizon is pervasive, even overwhelming. It is invariably present. Provoked by the one who is looking, the horizon is like a terminus of the given position of the looker: the perspectival contains its gap. That line between water and sky is as if between dimensions of intelligibility – between revealing and concealing.

Self-transforming nature is like this: a continual pulsation in and out like the waves hitting the shore, ebbing to and fro in revelation and concealment. It is sexual. Ecstatic. Emptying and enabling. Evoking and revoking all the positions of existence perched headlong into the precarious catastrophe.

The tumultuous shore unfolding its multitude: the way the grain of sand relates to the concrete barrier and the seagull interacts with the wind that blows the sand upon the barrier is a deep realm of communication whose horizon is never exhausted by my anthropomorphisms. While ‘communication’ usually connotes a conscious mind in dialogue, the communication in which I refer is more like a momentum: an enhancing and depositioning. A continuum of coaxing and conjuring, as an aesthetic seeping into the sensory modality as a string of relations surpassing accessibility. This self-evolving and transforming nature does not privilege the priority of ego: even though the mind may be an incarnational presence, it is an x encompassed into a larger continuity of environmental variables.

The event of the shore is not governed by instrumental forms – it is not a mechanic universe. It is ecstatic. In artistic terms it is not an issue of management (like the management of forms), which would move the event into the needs of the human process and away from nature itself; rather, the event emerges and then there is a transition into acquired meanings.

The drive for evermore encompassing, which just is the spirit of Eros, as the shore that tells me that nothing remains satisfied with its attained efficacy.

Tumultuous because continually changing, this materiality is self-moving as a passage of continuities and discontinuities that are always precarious because always in interchange: the sediment and erosion of configurations and constellations of materials form beautiful works of art beyond the human hand.




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