It is a discomfort zone (an installation. Or a room. In a Zone).
It is a polyphonic installation and there are vocal variants.
In the case of a room or installation, there is a lot of waiting to come in, a kind of discomfort that is easily mistaken for boredom.
In the context of any actual place or location, access to the room or installation follows the principles of contagious fiction and contested fact (Tarkovsky’s Principle).
Take sides. In our opinion, it is better to be partisan: our gaze always falls to one side or the other, and we are learning to shout more loudly.
It has been said* that three kinds of space are woven together in the journey crossing the zone: nature, home, and a shrine . In other words it is a pilgrimage.
(* Building with Wood. Gilberto Perez – LRB (31): 4, 26th Feb 2009, Pp 27-29)
Slavov Zizek reads the zone in which the room or installation are located differently. In The Thing from Inner Space he sees it as a ‘post industrial wasteland’. However, the choice between a classical zone (‘wilderness’), a zone of modernity (as for Zizek), and a meteorite zone (or any other) is mainly one of stylistic preference in our opinion.
An aesthetic for access to the room or installation can be expressed mathematically as: N+2. This should probably be (… ) bracketed indicating its presence within an incomplete formula, ie – It is a broken off fragment.
Entry into the room or installation is at walking pace. Time however may be running swiftly, like a yellow brown torrent of flowing water.
In order to picture or place ourseves in the room or installation: Watch; Read; Listen; Write; Talk back.
Another word for installation or room is kiosk.