Visual: Panama Canal    (A compact form of an already inaccessible reality)

Narrator: 
Somewhat natural, we assume a giant body working its way through every hour of the day. 
Not quite knowing how. 
Not feeling much included. 
We witness a process which seems crucially inevitable. 
Indifferent to anything around it and even itself. 
The Things seem to refuse any sort of active communication. 
They……just happen.

Susan Schuppli pointed out the bleak power of technologies being indifferent to itself, when she questioned her own produced images the following way; "Why does the camera perform its acts of image capture with such unblinking confidence, when we ourselves are still hesitant?"

- pause- 

This image is meant to show a 24 hour technical miracle. 

Visual: earth flow

The men made effort to keep within its own set pace of monetizing earth materials.
The geological, 
the main material which produced these images in the first place….
is neither visible nor quite comprehensible. 

Visual: 4k Woods

Narrator: 
The flow of these things are often imagined in an accelerated form. 
this is how the images of the worldwide material flows are delivered. 
this is how the world wide material is delivered. 
A constant motion, speeded up. As if real time is a fast forward.
Matter is indeed speeded up. 

Visual: Levitated Mass

Narrator: 
A pile of dirt is thrown or carried from its former hang out to another one. 
Like deciding over a snails path, by throwing it away from the picnic setting.
sediments are pushed around that way. speeded up.
the same way we visualize some million years of earth history.
5 million years in 5minutes.

Visual: 

Narrator: 
Patient as Pebbles, Dirt turns into HD.
Pebbles, in an unfiltered slit of the inbox or... remixed into bootleg data. 
Fresh of the foreign coast. Already traced or neglected by extraterrestrial radio waves. 
They penetrate from above like desert dust and the vaporized satellites that turned back into media fossils.

Visual: membrane fading over / earth move fades away

Visual: Raw Ore (flip)

Narrator: 
the material compounds which make it happen that worldwide cities turn bright at night. 
- small pause- 
of course we are unable to see beyond the material compounds of raw copper ore, 
we know what it does to our cities and our daily devices, 
but then, here, our relationship is surface based. 
We'd first would have to peel of a layer. Like Jean-Luc Nancy puts it; that the ground of the image is inseparable from a hidden surface, from which it cannot, as it were, be peeled away: the dark side of the picture, its underside or backside...

Visual: Heizer

Narrator: 
And though we know that this "dark side" of the image, and even this very text is pebble supported as much as this video sequence must be filled with pebbles of all kinds,
but they are untraceable, remixed within the blue light of the pixel.

- pause- 

An so, we try to look for images that are less deceptive. they…shall perform as what they are. 

Visual: Boulder Coyote

Narrator: 
What can we do with this ever growing screened world ? 
How is its quality to be measured? 
Where can we collect its material evidence?
The natural resources which quietly dive into a green screened tablet the size of the equator. 

rendered sand, rocks, earth;
to actually live among these entities day 2 day?
as within the cartoon
all behaving on the same ontological field.

lines that can now, make the material - 

Visual: sandbox

The desert? 
the spectrographic image of a catastrophe?
the not measurable, not predictable but however simulated processes?

Visual: Self guiding frogs

We want to live in a 2D world. Or rather, we want to live in a 2D world, once it has enough of the 3D. Actually, a 2D that feels like a 3D is enough! 
The desire is still there. Maybe the desire is what appeals and not the HD. A predetermined image-feel of what it might look and be like.
Imagine water!

Visual: Flight simulator
Visual: Remote contr. car

Narrator: 
When giving in to the material world we have to give in to non talking entities. 
the problem is that something is appearing in front of the screen but it never really talks to you.
Its just reflecting back onto itself. referencing itself, the screen.
We only know of its presence, because they affect our measuring instruments in certain ways.

Navigate yourself until hitting the rendered curtain,
this is the place where we might be able to meet the entanglement, the slit of equality, of the human and the non-human, 
- small pause- 
being inside of that wall, which is impossible to be breached…

Visual: floating chevy
Visual: Homer HD

if you get caught in between the membrane
if you can even be the membrane!

this might be just our responsibility, 
to sit tight on a half rendered, half wooden chair.
our second skin is borderless, because the world is borderless,
the globe is transparent, An unregulated and fluid space where ordinary rules need not apply. 

Visual: Membrane is flipping to the middle (thin)
Visual: Chevy floating (several times) (flip)

They might leave us alone with our own rendered cliché.
Unborn materials - that never question themselves to be unnatural or natural
They transcend both ideas: nature and culture.

Visual: Nasa whirlwind

whats to be seen is edges on top of surfaces.
what are the contour lines ... it is nothing specific. 
Believe it or not, its not true that every object has a line around it! There is no such line.
A self guided fly through in the matrix:
 
we will never touch the material in front of us. 
we slip right through it,  
as if we have breached the limits of bodies already
If we can force the texture of our real world to become what we see on the screen, wont we finally understand its material behavior?
A smart wall might still hurt us the same way as a brick wall when we bump into it.

Either way, the material world, how could it be acknowledged? We live among the already inaccessible real. The access is blocked in the first instance and in the second.
that is seemingly why physics are forced to explain one marvel with another, and that one with a third.

Visual: membrane, coyote_portable hole

And still, those simulations are seemingly the only tools to access the material world - The ontological dilemma makes us use the extra formless to be able to dive into the form.

when the actual "real" material is not available to our senses, we instinctively choose or "make up" the state of matter, thus, we have an infinite possibilities of "matters" and its paradigms.

Visual: Water
the waves are in constant motion

Quietly traveling the international shipping lanes - the sea ferry trade.
In the very hands of the filmer... an aquatic live.

In fact: 
One of the millions of objects that give birth to rendered and pixelated realities, have traveled the oceans.  the infinite motion of the sea is stored somewhere in their material conditions.  a digital reverb.

What does it say?

the sea impersonates the membrane
it even thinks it is the membrane, because it has the same characteristics as the screen; 
it is opaque and transparent at the same time.

however, it is situated at the other side; the hardware of the screens hardware.
the technological - environmental bag pack. The soft nature, The shallow geological timeline. 

the water is carrying the raw data on a ship. Caught in a tiny loop of endless dredging and spitting, digging and layering. 

Visual: Title, credits...