In the actual terrain of experience and its accidental consequences, where the methods are elaborated that will allow me to undertake the inspection of the «interior» with the aim of analyzing its configuration and transformations.


With both the obtained materials and new contributions we find ourselves in the right conditions to take on the most important exploration - our own discourse.


A distance is established at the beginning between my work and the work itself which now more than ever is self-generating. All that is needed is a physio-chemical condition and a relationship 01 articulation between its natural terms and those of its own thoughts.


This notion is in itself made up of all mythical and aesthetic creation, avoiding the structural ambition of Saussurean significants and significances. In this way the structure of communication is not confined to a standard, but is rather an internal and instrumental character, sensitive to the global nature of the «concrete» which struggles to find its equivalence, its complement through the reorganization of those elements.


The method we propose to follow has not only been chosen because it is a within our logical grasp but also because it offers us a metonymic relation- ship 01 direct contact. The following classification defines its own conceptualization as the relationship between these real or virtual terms.


1. Construct the possible tectonic itineraries of permutation between these terms.


2. Uphold this itinerary as the general unifying objective of the entire creative process.


3. Emerge at the end 01 the trayectory and return to another lithological itinerary.


We then propose to catalogue each one of these new possibilities and combinations, situating them topographically and numbering them up to LOC. 178.


Can we contemplate infinite variations?


¡According lo George Bernard Shaw in Back to Mothuse/ah the idea of the return and consequently a new vision are the essence of all learning on how to observe.


It is found for example in the numbered photographs, where one object and a changing background within the same class are designated; here the photographic transparency turns out to be an artifice that makes us re-recognize the actual object, thus giving us the option of an unknown direction, and in this way permitting us to take part in an unlimited game.


Because of the simple fact of handling changeable symbols (albeit viscous one), we already have a new order of the elements.


The first significants can become the new significance or the new ways and means, or visa versa.

These combinations are the result of the meeting together of these events.


In the reversion we establish a new code of understanding, the tools used to go over the itineraries now become «metaphor objectives» in the same way as my interventions, that will continue to be those of a seeker of accidents, only feeding those physiochemical conditions that make the crystallization of the sulphides of iron and copper possible.


In many cases, the emergence 01 the actual generating process creates the right conditions that show us that we are dealing with a language perspective, barely changeable by my intervention.


We can also make these new observations from the air at an altitude of about 1.200 feet. The itineraries marked out by loot are now cartographical readings on a map, located by their geographical co-ordinates LG 7° 0,4', LT 4° 21' N, and their meteorological conditions, transmitted by satellite from Frankfurt.


Let us think about the «room of wind» to illustrate this image, 200 telex, covered In resin are placed untidily along the walls.


The figures of the immersion appear on each one of them, that is, humidity and wind speed.


Throughout the itinerary we need to know these alterations 01 the contents, which in definitive are no more than «provoked accidents».