”The title Stages after Seri refers to latent vision and photographic characteristics that emerge in the contradiction between imperative and human error. This contradiction engages complexity when associated with the potential of photographic innovation. My imperative here was the reciprocal nature of the Japanese noun Seri (かなり). Seri is literally a piece of machinery: a trap-door lift mechanism for raising and lowering cutout portions of a stage floor used in Japanese Kabuki theatre. Since 1753 and throughout the Edo period various models of Seri were operated by human hands from beneath the stage.

Thus, Seri’s present-day electric machinery does not evoke similar afterimages of the shadow crafters who mastered its operation: a simultaneous act of mutation and erratic manipulation of the emerging stage. Though the operators were replaced their mastery remains as a figment from the kanon. The machinery is in constant becoming according to it’s probable nature that triggers stages of multiplicity, vague transitions between illusion and trope.

In Seri, the vertical and automatic are conserved in the lacquered layers of the machine as a mute code that creates endless repurpose. Photographic imperatives tend to operate in the same manner as the drive is the realization of the trope. The code establishes individual’s constant desire of becoming - which outnumbers a mere state of vertical stasis. These factors of the inanimate becoming resemble of Félix Guattari’s notion of the Machinic Eros, ’being in the thick of things’. Mesh.

From their position operators experienced the immediate as a reciprocal phenomena: the scene unfolding upon the stage became reflected as in indirect casting light back in to their eyes. In other words, they experienced their own creation as a manipulated fragment. This exact meta picture of Seri led me astray. To cut out portfions, ’satsuma [’making a photograph; taking a shadow]’ of the emerging image - in ignorance, with serendipity and by erratic index finger - are admittedly the only far-away insights in my work."

”The title Stages after Seri refers to latent vision and photographic characteristics that emerge in the contradiction between imperative and human error. This contradiction engages complexity when associated with the potential of photographic innovation. My imperative here was the reciprocal nature of the Japanese noun Seri (かなり). Seri is literally a piece of machinery: a trap-door lift mechanism for raising and lowering cutout portions of a stage floor used in Japanese Kabuki theatre. Since 1753 and throughout the Edo period various models of Seri were operated by human hands from beneath the stage.

Thus, Seri’s present-day electric machinery does not evoke similar afterimages of the shadow crafters who mastered its operation: a simultaneous act of mutation and erratic manipulation of the emerging stage. Though the operators were replaced their mastery remains as a figment from the kanon. The machinery is in constant becoming according to it’s probable nature that triggers stages of multiplicity, vague transitions between illusion and trope.

In Seri, the vertical and automatic are conserved in the lacquered layers of the machine as a mute code that creates endless repurpose. Photographic imperatives tend to operate in the same manner as the drive is the realization of the trope. The code establishes individual’s constant desire of becoming - which outnumbers a mere state of vertical stasis. These factors of the inanimate becoming resemble of Félix Guattari’s notion of the Machinic Eros, ’being in the thick of things’. Mesh.

From their position operators experienced the immediate as a reciprocal phenomena: the scene unfolding upon the stage became reflected as in indirect casting light back in to their eyes. In other words, they experienced their own creation as a manipulated fragment. This exact meta picture of Seri led me astray. To cut out portfions, ’satsuma [’making a photograph; taking a shadow]’ of the emerging image - in ignorance, with serendipity and by erratic index finger - are admittedly the only far-away insights in my work."