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Let us step inside the recording studio. Here, the identity we call pop singer is produced. It is this dream factory which makes the voice you hear on the radio something completely other than just a human being singing.
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Back in 1999 when I first started putting together my scrapbook of literary coincidences, let's just call them that for now, I cut out parts of articles, interviews, memoirs, essays, diaries, any printed text wherein was recounted various examples of how life imitates art.
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They had cut the umbilical cord, cleaned him, weighed and measured him.
His parents had held him.
- He looks so alive, said his mother.
- The child should be crying, said his father.

Testing was done on the little body and they gave contradictory results. His heart stood still, while it grew. His body did not respond to any treatment, still his growth was normal.

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'When I write with my fountain pen on a sheet of paper, the friction between the metal of the pen and the surface texture of the paper makes a sound.'
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I'm convinced that you cannot describe nature, not philosophically, nor in a scientific manner and, not in the last place, not from an aesthetic point of view either. The moment you start describing it, studying or painting it, nature is undone and becomes something different altogether: a dissertation, a story, or an art work, anything that fits into a human framework of understanding. It's a Bermuda triangle of philosophy, science and culture in which nature disappears.
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During the last few years, I have in my art been working with the understanding of time in different ways. When I spent a few months in NYC in 2002 it became apparent to me that I often understood time as a part of space. I saw time as a variable of space, and I found it difficult to separate that which has already happened from what is happening in the present. This made me question my linear perception of time.
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Point out a compass course and make an investigation. Make it a game. Investigate the relation between you as a citizen and the resistance of the city, when you are walking a straight line, following a pre-defined compass course. Investigate what obstacles your body will meet: the air friction; other bodies; ditches you are forced to go down into and up again as they pass your way.
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The first days of the experiment had been uncomfortable, claustrophobic. Imagined sounds caused him to react as if someone was just outside - knocking, steps, distant conversations. But they were only sound memories. The only thing that there was to listen to in fact was the murmuring of his own blood circulation.
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