The Ruins (Project Sketchbook: Excerpts)

 

In the past few years, influenced by time and energy spent in Detroit, Ecuador, Berlin, and Mexico’s Yucatán state, and in books thinking through philosophies of the State and classical Mayan writing and sacrifice, Walker has been working a different kind of game-like engagement with writing and writers, including himself. He has been trying on and off to lay out and “write” a novel-length book of fiction that is tied to and mostly dependent on his work in the other creative areas listed above. Its story weaves in many persons place and things from his non-written work and is combining these characters with characters from other artists.

“As an anthropologist,” Walker tells us, he has spent years and untold resources on expeditions collecting, sketching, composing and disseminating “sacrificial written materials” from the ruins all our own.

From what has been discovered in exploring these ruins to date, the following glyphs usually correspond to the following letters of the Latin Alphabet. Use the row immediately below to learn more about each glyph. Instructions about how to best use the glyph register are included below the two columns of glyphs.

 

   A  B  C  D  E  F  G  H  I  J  K  L  M  N  O  P  Q  R  S  T  U  V  W  X  Y  Z

How to Use

(1) Find the glyph(s) you need to decipher.

(2) Click on the corresponding letter in the top row.

(3) Record the meanings discovered to be associated with the glyph(s).

Example:

D  – Driver

R  – Rot-am-See  (Red on the Lake)

E  – Engine, Energy, Electricity,

W  – Wernher, Weapons, Rockets, Space Flight

 

From what has been discovered to date in exploring the ruins all our own, it seems these notions are meant to be used to form the basis of a personal narrative associated with the person, place or thing bearing the name.

 

A Short Description of The Ruins All Our Own 

Ongoing studies by the Syncretic Beings Labs (SBL) are navigating the ruins, the one alternate universe, reality and political state we are all born into, live our lives, and die within, becoming sacrifices to it.

These ruins are filled with things, fetich objects, including moving masks or “performances,” and fleeting or indeterminate identities.

No one knows how long these ruins have lain buried and uncharted, serving as a resource for certain healers, collectors, artists, and sorcerers.

Just as your brain, heart, body, your cells and means of existence are you, and not just parts of you, all human brains, hearts, bodies, colonies of cells and means of existence make up the one, plural brain, heart, body, cell colony, and means of existence of these ruins.

These ruins are navigable via a series of roads and paths, corridors, spaces or rooms.

In their study of these ruins, scientists at SBL have long been based out of what they call “Location 205.” This space has another name which they do not know. It is called “The Prussian Room.”

Walker’s first order of business as board chairman of the Syncretic Beings Labs was to see these particular scientists leave, and then draft a new charter according to the following observations:

(1) Within the ruins all our own , hearts, brains, bodies, cells and (more or less permanent) means of existence are quantum entities. Nerve and cardiac muscle cells vibrate marking various (ancestral) musical structures, coursing waves along paths, streets, and corridor walls of cells, of fibers arranging various positions of bodies in various levels of awareness and secrecy, as they pursue (more or less permanent) means of existence;

(2) In the ruins  all are one thing and many things. They are a plurally singular universe where everything is everything else, a state in which we momentarily or more permanently, and more or less consistently, negotiate between the plurality of universes in order to more or less live and get along with one another;

(3) The ruins are no “heavenly” plurality of states; they are filled with every emotion and sense of reason imaginable. Like all political states, The Ruins maintain a monopoly on physical force. They are the sole source of legitimizing all physical force, including speech, gestures, and secrets that everyone knows, but no one talks about;

(4)The ruins are inhabited only by ancestral things, fetiches of human manufacture (including masks in motion or “performances”), things reminding us of our place within the ruins. Some refer to the totality of these things as “the universe,” “nature,” “mankind,” or “reality” – made up of the heavens, the earth, the plants, the animals, the laws, spirits, and us. Every word uttered, written and read serves as a mnemonic device helping us recreate these things as our (common) ancestors made them;

(5) There is no distinction between recreation and creation. The only distinction is between making things that are more or less truly ancestral, making more or less powerful fetiches of and for others in The Ruins.

 

Emblem, I

In the form of a blog on his own social network Liberty (A User’s Guide), a “character” named Old Man Gabriel (OMG) has begun to lay out the background story of anthropologist Doug Walters‘ ethnographic fieldwork within the US military industrial complex. This work involved a US defense contractor named Curtis | Jacobsen | Lamb (CJL), which was the parent company of another contractor named The Syncretic Beings Labs (SBL). CJL specialized in human resources work for the Logistics Services of the US Department of Defense, and SBL was involved in what it referred to as “experimental human resources development.” For several years, SBL had been operating beyond the complete control of CJL.

While the events depicted in the film Masks in the Sun were unfolding, a man named Jean Birken, a CJL Human Resources person and clandestine operator, was being secretly studied by SBL. At the time, Birken was involved in investigating a series of disappearances linked to his US Air Force Major David Larson. This investigation was pointing to an international weapons proliferation scheme. Though seemingly unknown by anyone involved, this intersection of the local and the global was contributing to deadly consequences and deeper mysteries that extended far beyond Welles’ ability to handle them.

Walker’s own (ethnographic) investigation of this situation led to the discovery of what he is calling The Ruins of Kindness. More on his own involvement with SBL can be found in the materials accessed by the link to SBL above.

Although it may sound odd, these materials and performances are part of an ongoing, game-like adventure called Emblem, I. 

A series of rules to this ongoing game can be found in first clicking on and then mousing over most of  the image fragments below.

 

 

 

Fetich Table

Table Objects Page

 

A Prussian Reading Riting Remembering Raum

Photomontage | Gabriel Embeha | 2015