Dreams

And, eventually, dreams do come true. This is why we need to ask ourselves rigorously and consciously: what are our dreams? As individuals, as tribes, as societies, and as a species. We need to acknowledge the generations before us: they did their best. And, if they didn’t, there’s nothing we can do about it now, other than learning from their historical needs and possible short sightings. (24)
Francesca Ferrando, The Art of Being Posthuman: Who we are in the 21st Century.

Dreams of moments that existed, of moments that never existed, of moments that might exist. Bringing the logic of the daydream, of the reverie, into every fibre of our process.

Following the logic of Gaston Bachelard, we have lingered and amplified each moment that has presented itself to us:

I leave the page. The syllables of the word begin to move around. Stressed accents begin to invert. The word abandons its meaning like an overload which is too heavy and prevents dreaming. Then words take on other meetings as if they had the right to be young. And the words wander away, looking into the nooks and crannies of a cab you Larry for a new company, bad company. (17)
Gaston Bachelard. The Poetics of Reverie.

Giving words permission to be young, to be irreverent, to distort.

Monstrous beautiful words taking permission, taking their leave.

Giving ourselves permission to drift, to feel quietly, to breathe.

Dreams, resistance, sorcery, different futures.

Remember Artaud:

To consider the theater as a second-hand psychological or moral function, and to believe that dreams themselves have only a substitute function, is to diminish the profound poetic bearing of dreams as well as of the theater.
Antonin Artaud. Theatre and its Double.

The only real regret, that of Remedios Varos (from text #4. Surrealist Sorries, Mexico City, 1960), the regret of what remains undone:

Like dreams unremembered
Or lovers only grasped for an afternoon:

I regret the paintings I never painted…