Endless Tissue

We slither through life fixated on the pibble and plop of nearby things, the intimate whoosh of local combustions, the tangible terrors, the prickle of the contiguous. Like most animals we are imprisoned in a net of sensation no larger than the clouds and no smaller than a burp. Although we have generated lenses bending every far thing into sight, for many of those who see such marvels it is merely a routine, reducing the voluminous coyness of the Universe to manageable professional scribblings. The rest of us are tracked away by other economic intimacies. What an unfathomable injustice to this strange and outrageous being.

The infinite foam of form must be pumped into our nervous systems as a ruse, as a planned unplanning, sweetly and steathily. For the sake of our larger being, our fantastic reticulum, it is imperative that we free ourselves from the prison of the human, to see beyond our oily simian confluences. We must spawn codes and mechanisms to lure ourselves into prone alignment with the endless tissue of the Cosmos. We must seduce ourselves to see and scratch.



Mark out three circular areas in a row. If possible, build smooth mounds on the outer two circles and a pit or basin in the middle circle.


Place directional markers in the outer two areas pointing in towards the center circle. Install strobe lights above these to attract humans and orient them towards the center.


Place cross hairs over the center circle and aim an infrared sensor towards this spot.


When a human enters the center, the sensor is triggered, a siren is set off, and astronomical and microcosmic images are projected over the spot.


Endless Tissue
The Flytrap, Williamsburg, Brooklyn, 1991

This enhanced photograph depicts Endless Tissue the morning after The Flytrap, a multi-media event in an abandoned warehouse in Williamsburg, Brooklyn, 1991. Numerous artists and musicians collaborated on the nightlong event.

Melanie Hahn (left) & Stavit Allweis (center) dancing on
the Suction/Reflection System during The Flytrap, 1991



©2004 Ebon Fisher