Notes after phone call on 7/13 A 7 channel play. This play’s compartments make up not only the setting and environment of the film, but a fabulative location that’s purely interstitial: a magic kingdom. There are, for example, two characters discussing the possibility of creating an extended context for writing a play in this interstitial new world. Simultaneously, there is a small group of radicals attempting to attack the kind of world they envision as being the world they are within (in fact their world is the world they envision but is indeed no more fabulative, or interstitial than the conceptual spacing of the playwrights). The production of a performance in the new world by the playwrights composing it at a distance is then carried forth as the radicals plan an attempt to somehow dismantle the world that they are within. There is a bickering comm/otion of a ubiquitous comm/unity that co-composes these plans. The commotion is threefold. (1) One community’s peoples are sending out signals to each other which convey the internal diagramming of their walls by connecting, for example, switches to their lights or fans. But eagerly voiced for their community over the technicity of their wall’s innards is their act of diagramming. (2) A second community is shown covering the diagrams, through plaster and various other materials. It is unknown if the wall’s coverings are concealments, stages for various performances to take place, or merely the geo-layering process of sedimentation taking place in a home that is beginning to mimic the “outside” with AC taking on wind, heat taking on the sun, and where pets are around to register the calculus of wild animals. (3) A third community is shown taking down walls, or at least pulling off the cover for the wall’s innards to be more available. It is possible though that this community is in the business of removing the stage for the play to surface (not unlike tv), taking down or interrupting the wall’s primacy in creating “containment,” or versioning of the outside, and or archaeologically removing the sediment in order to locate the layers of life heretofore covered. Quietly, suffused in commotions of the wall communities and the plannings of the radicals and playwrights, various plays are carried out by hung paintings, newspaper clippings, and figurines positioned at attention for their own dramas. Nearby, a walker takes on the streets of chicago, steering a direction and reminding any onlooker of the ground upon which they walk. These are not however separate scenes, nor should they be taken as vignettes timed and relocated (situated as a people’s ado). Further, they do not resemble the commons at all. They are, instead, the negotiation of an ecosystem, live and refiguring. These closely touching atmospheres are the very substance of a setting, a place placing, a scene scening, and a world worlding. These are not happening on the world, nor beneath the sky and atop the earth. They are a world, worlding its own credible responses to itself. And as such, the differences of the channels have the propensity to slam against one another. They tangle, they respond, and they trouble.

Notes on Fabulative Waste John Winn I take a fork, fold its prongs, and push its now curved and blunted tips against a piece of steak. The meaty surface resists these smooth tips as red juice pours out and onto the plate. I bring the fork into my mouth. While exiting, the inverted prongs scrape against my palate. I swallow the bit of blood released by the metallic scratch. By the time the prongs straighten back out—slowly pulled forward by the repeated connection across my palate—the steak has deformed into a cold and beaten paste. As a productive operation, the fork’s procedure fails miserably, compiling piles of tissued and mushed stuff. Yet this procedure isn’t so much unproductive, as it is an inversion of productivity, accentuating the expended and categorically de-utilized components of all productive activity: an active practice of wasting. However, to call this activity an inversion of productivity confuses the order between the two terms. Waste conditions the very possibility of production, while productive operations characteristically elide the vital base from which they take form. But this explanation still portrays waste as a relatively passive actor: a vibrant accumulation of virtual things that productive forces will ultimately organize and mobilize. In the case of the fork, mouth, and steak, somethings are made, though not produced. Rather than producing waste, which confounds the relationship between waste and productivity, waste, here, is fabulated. Fabulation provides an alternative model of causality. Production overdetermines the causation between things, establishing a series of stable lines between coherent actors, whereas fabulation tangles throughout spatio-temporal coordinates. Nothing makes use, cracked leather spills over into burnt gum, it’s all too much, excessive and essentially gross. Fabulative waste exudes an incoherent form, resting at the vibrant interstice between things. Fabulative waste allows for the creation of a radically de-actualized coming community of things and humans. By creating relations between things that are essentially wasted, fabulation always sustains an element of openness. Mouth and fork never consolidate an ordained bond. In fact, the palate eventually collapses, revealing another cavity hitherto concealed. Fabulation opens the withdrawn creativity located between things, at the gap where palate scrapes out into excavated air. Fabulation de-localizes the established coordinates between things. Or: locality is fabulated, space scrambles. I need to purchase some vegetables so I take out a map, mark the location of the grocery store as well as my apartment, trace out a path between the two, cut the map into twenty pieces, reorganize it, and walk along its frayed contours: an inoperative spatiality. Consider the earth. A ghost mall in Phoenix gets put beside digital ceilings fans in New York and North Carolina, while I record the noise of an electrical fan waiting for a double cheeseburger. An operable map only provides an imaged overlay of a dead earth. Rather than founding a new earth, this recombination locates another world at the ethereal gap where this earth wastes away. Fabulative lines trace out a de-actualized, though creative, map of things. A hole in my back pocket provides an opening for a camera-phone to film through. The image captures at a slight disconnect from the walking body, producing an autonomous form-confusion amongst pocket, human, phone, and wall. It inscribes the area between all these things, whilst eluding alignment with any of them. What would a fabulatively wasted setting between things sound like? Somebody walks up to a long line to get lunch, realizes they don’t have time and walks off, just as a series of cars pass by. Then a toilet flushes, a subway door opens, and a retail store closes. Three figures argue about which one must take out the trash this time. A dislodged window frame causes a pause as one figure kneels down to tie their shoe. Perforated paper tears and another figure calls out for a cup of coffee, while paint slaps against layered plaster. A radio plays some argument between three figures arguing about the trash and the bus stops with feet stepping up from the sidewalk onto its streaked floor. The location of medial fabulation must be noise, the condensation of relationality wherein the terms related are ultimately negated. What is generated out of this negation is the setting of medial relationality itself, the opening of wasted connectivity.

Minor Blocs and Fabulative Nesting A minor bloc assembles fuzz and pixels to generate a partial and open image. A scene of carriers drifts along papier-mâché figures, while voices trail off in the background. The medial noise of green and purple pixilation impresses lightly upon the optic surface. Voices compress into one another and the sound sharply vibrates along my keyboard. The image, taken both aurally and optically, is itself a minor bloc, composed of an unstable world, unrepresented and flowing. At the same time, this bloc can be broken down into two more minor blocs: aural and optic. The voices and figures never connect directly: the causal links between optic and aural appear to take place beyond what is captured. However, such linkage does not occur beyond the two blocs. Rather, the link takes place at the medial gap where the two seem most separated. Minor blocs connect through indirect mediators. The papier-mâché figures act as medial containers that absorb and re-emit voices, just as voices become vibrantly digitized pixilations. The two blocs swirl, fabulating a non-localizable world of the optic and aural and folding into mediation with their multiplying others—a medial uncommons. Fabulative nesting occurs where minor blocs begin to co-compose, attaching and weaving through the amassing of indirect mediators. The scene, or bloc, discussed above, then, is also in contact with a series of other minor blocs. These blocs form a collection of mediating lines, virtually connecting each to the other: an indirect line or fabulative pilgrimage. The nest's formation is in-actual. By separating "in" from "actual" I mean to indicate that this community of blocs is simultaneously "not actual" and "within actualization." That is, these blocs are not so much a virtual formation of potential connections (rhizomorphic), but rather a formation that is concretely realized, whilst eliding capture: an actual community of blocs that cannot be captured as actualized. Put elusively: minor blocs only actualize abstractly. The nest is always future-oriented, bound by movement. The humming bird becomes the nest, which is itself exposed to wind and rain. Thus the humming bird becomes its futurity—exposed with the nest to deterioration and future catastrophe. These blocs, likewise, step just beyond their actual formation, alluding to a map located at the medial elsewhere of actualization. In this sense, in-actualization refers to the generative pull of future creativity, not to a not. Fabulative nests waste.