Farthington's Voicemail: trying to bring that 4th into the reality

A treasure trove of Carlton Farthington's voicemails has recently been made available to the blog.  At the request of researchers, enthusiasts, law enforcement agencies, and other followers of the project, voice-to-text transcriptions have been published as-is rather than edited for sense.  We hope that this will better capture the texture of the spoken word, rendering it more accessible and/or flexible for the diverse purposes of our audience.



4/5/14 4:09 PM 7 days ago

Modern Art, liberated as it is from the traditional frame 0 has. 2. Think a little bit about what frame at once and how it's going to position itself in terms of It's around in space And And taking quite a bit more responsibility for that decision. The, and then in task centuries, obviously. What is What is that in. In some ways I guess what I'm saying is, the tension. I hope it's not there and then you then, then you really are in a position I'm. I'm like getting the attention to a kind of frame. I'm like getting the attention to a kind of substrate on to which. These ideas are imposed. Without, any sort of tension. Without any sort of resistance to what it is you'd like to produce. The Frame really needs to be provided by you. The tension really needs to be provided you the The constraint needs to be provided by you And in my world that That doesn't sound all that great. Because, not a frame maker and I don't have a lot of ideas about that. So, kind of what I'm saying is. Thank God for the tension. Thank God for the constraints. Thank God for the in inability to do every single thing that comes into our Mines. Thank God that we our 9 at the bit that we have an excess of energy. That we are overflowing. The banks of of this of these limits. That we house. And and we don't worry about the frame we don't worry about. The constraints, we just worry a bring that within which is within us and trying to bring that 4 trying to bring that 4th into the reality. Look, looking at what's available in terms of space looking at what's available in terms of framing contacts. And then putting whatever content, we happen to have it any given time. In 2. Whatever frame happens to be available. And to me that scenes, more real. That seems to be conversation. That happens with reality. That's the kind of. That's not a conversation that is is abstract did from reality.