Sunday, January 2, 2011

Kate Playground Follando

eyes the way the funeral

Asphalt is a deception, is the false promise of an order inviolable. It 's a misleading certainty. In Indonesia, the road begins to be violated. E 'permeable, is loose network that lets all the fish. Nor is it "ribbon of asphalt," because the strip is frayed, stops, narrows, widens to serve the needs of those who are on its board. Nor is the asphalt matter that distinguishes it. If there is stone, is in stone, if there is dust to dust. But it can be made of a river, as the round stone and mobile dry bed of a stream, which for years has destroyed the bridge that crosses it, in a burst of fullness. The entropy of stones is more solid than a bridge, sooner or later, collapse it again. However, if it is made of asphalt, bitumen is a poor, dilapidated one, gets depressed, he breaks through. Emerges from under his rough substance, such as wounds that bled gray sand and gravel.

The road is an idea for longitudinal distances, net, without hesitation. The idea here is corrupt by nature imperious and a vanishing way of life, confused, uncertain, but able to adapt to alternate routes, detours needed. The people of Equatorial appropriated malleability acquired by this idea and the perfect blend in as I ask, making anything, essential imperfection, mutation.

Here, the road is the evolution of species Indonesian road as it incorporates the many variations of form and function, giving rise to a new endemism. Polymorphism blend perfectly adapted. A path without direction.

anyone here use the road as an indicator of the direction and the numbers are unnecessary. Since the road trip, valid only cardinal directions, east, north. And relativity near here, on this side, not far away.

In Bali, the situation per il viaggiatore si complica per le undici direzioni che si sovrappongono ai punti cardinali. Qui vige il concetto di “verso la Grande Montagna”, ( kaja ) che talvolta è nord, talaltra è sudest, ma non è verso sù. All’opposto, ma in senso relativo, c’è “verso il mare”, ( kelod ) che mescola timori atavici, scorrere d’acque a valle, immensità esoterica dell’oceano.

“Dov’è il tempio?”. “Non lontano da qui, ad oriente, ma dall’altro lato e poi verso kaja ”.

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