The cosmos as an impersonal intervaling, and the anonymous and cinematic in-between-living as its condition of co-evolution, of lasting together while the existence is instaurated as a montage-assemblage. Our skin and celluloid have always been Blue. Deep Blue, our genetic condition. The cinema, the cinematic in-between-living, the mode of expression and complication of our ethology. Inorganic multi-species ethology, (poetic) ethology of the membranes and their vibrational and transductive qualities. Exhausting, spending, and polishing the life, until it ceases to be against-nature the intimate and close kinship that we have always had with marine life, with octopus, squids, and jellyfishes.
A natural history of a singular chromatism. We are relatives of the Deep Blue and from it, we must be its guardians. A co-evolution, where what matters is the variations of tonalities, the contrast of their intensities, the dynamism of their differences. In-between-being octopus, squids, jellyfishes. In-between-being spots, stains, strokes, chromatic blocks, rhythms, and intensive vibrations. Natural history of the cinematic montage-assemblage of more or less dense or defined waterinesses, of thresholds-membranes that enable the pass and maintain the flux of between-images, in-between-lives.
Memories of future where the history of cinema and natural history are confused and mixed. Memories of future that, in fact, jump out of history to be worthy of the event Deep Blue Event, in which vibrational and membranous singularities as Vertov, Peleshian, modes of the humus cinematographicus appear; but also cephalopods and coelenterates belong to the same phylum, to the same vital series of organic and inorganic montage-assemblage techniques that keep the cosmos moving.
We only remember. We are only images (between images). We are only an aberrant in-between-living that if it desires to re-exist to a world in (human) ruins, it must to be opened to be the ruin of the human. Un-done, scattered remains in-between-reigns and multi-species. Many genetic memories could be reclaimed, even so, accept the mystery of the call of the Deep Blue. And then remember … We do not make films, we are cinema and film. Everything that is living is a filmmaker at the service of the cosmic cinematograph, it is channel and medium between mediums and by other means of the immanence of life, of the point of view of creation, which this time nameless and faceless has decided to be known as Deep…
As humus cinematographicus, we must ask the right questions to the modes of existence, that still have something potent to say about a chromatic vitalism between waterinesses. Memories of future of a cinematic in-between-living, perhaps as the poetic ethology of those organic and inorganic living beings that watch in order to make out of the Blue the deepest potency of existing of what is resistant to be a last and only occasion for thought and, on the contrary, it exacerbates the fact that it is a multiplicity for the latter.
How many Blues inhabit us, how many Blues proliferate when we compose with each other, when we are membrane-montage-assemblage between aqueous mediums?
What appears certain is that, in order to respond to, indifferent to our most recent memory is this human, animal, vegetable, organic or inorganic, indigenous or alien, we must be a pure surface, a pure open and available film.
Alive frames, submerged frames…
We only remember.
We are only images (between images),
Lasting, blueing …