Decorative Dormitories for Sleep Workers

Sharon Kivland’s vinyl LP To Dream by the Book was played throughout the exhibition on a vintage Marconiphone. A hundred readers recorded the stuff of dreams – those with a spatial quality (though perhaps this is true of the structure of all dreams) – from Sigmund Freud’s The Interpretation of Dreams. Freud points out, comparing dream-content (what is represented) with dream-thought (which instigates the dream, turning the text of the unconscious into a play), that content and its account is ‘brief, meagre, and laconic’ in relation to the complexity and richness of the dream-thought. The dramatisation of the dream is reported, a second edition of an earlier text, but the dream is something new, in which an old wish makes its return. On Saturday 20 May at 19 h Kivland gave a short introduction to the material of Freud’s dream book, followed by the playing of and attentive listening (Michel Foucault called Freud the most famous ear of our epoch) to the LP, which, most excitingly, was be turned over from side A to side B. The dream readers Gabrielle Abbott, Katherine Angel, Sean Ashton, Angela Bartram, Emma Bolland, Sean Bonney, Elaine Brown, Laura Brunellière, Elina Bry, Alison J. Carr, Véronique Chance, cris cheek, David Michael Clarke, Andrew Conio, Francesca Costa, Nina Coulson, Heather Connelly, Anne-Marie Creamer, Amy Cutler, David Crawley, Simon Crump,Thomas Cuckle, Karen David, Jonathan Davies, Uma Debray, Richard Dodwell, Cordelia Donohoe, Bryan Eccleshall, Gavin Edmonds, Lauren Elkin, Fiona Furness, Rachel Garfield, Laura Gonzalez, Helen Goodwin, Katie Goodwin, Philip Goodman, Francesca Gore, Ruth Herbert, Dale Holmes, Miranda Housden, Lizzie Hughes, Matt Hulse, Dominique Hurth, Amber Jacobs, Ann-Marie James, Juliet Jacques, Tina Jenkins, Evy Jokhava Metcalfe, Simon King, Nayan Kulkani, Chris Leach, Mark Leahy, Elizabeth Legge, Ann-Marie LeQuesne, Brian Lewis, Conrad Leyser, Trish Lyons, Carol Mancke, Alex March, Caroline May, Katherine Meynell, Kristin Mojsiewicz, Harry Moore, Vicki Morris, Michelle Naismith, Megan Nolan,Hestia Peppe, James Petrucci, Timothy Perkins, Roxane Permar, Lucy Pook, Claire Potter, Theo Price, Rose Richards, Katya Robin, Aoife Rosenmeyer, John Russell, Archie Shuttler, Johan Siebers, Ronnie Simpson, Tansy Spinks, Liz Stirling, Isabella Streffen, Linda Stupart, Mimei Thompson, Elisabeth Tonnard, Graham Tunnadine, Laima Vanaga, Patrick Ward, Emmanuelle Waeckerle, Julie Warburton, Ashley West Leonard, Louise K. Wilson, James Whittet, Ben Woodeson, Dawn Woolley, Gillian Wylde, Katharina Zimmerhackl HoH: Disillusioned they congregated at the gates of those in power to chant an anthem for our times: Sleep workers cannot sleep Sleep workers cannot stop Sleep workers wonder tirelessly Sleep workers suffer from arousal disorders Nothing happened... they disbanded and walked away. Wired they chose to rewire, fed up with looking to the past for an allusive origin, they took up threads from that dangerous and adjacent time, the future... Hysterias are constantly woven out of many threads: they are revised, pulled apart and re-stitched. Their DNA is constructed out of zeros and ones, a spatial code that produced through the punch cards of Plant’s looms. Although apparently lacking, the 0fs (or the holes in the card) are the overarching portals that co-construct Hysterias’ tapestry. 0fs are the invisible element: they occupy a grey position that cannot be pointed out, as they are a process as opposed to a place. As micro-machines these 0fs act as an infrastructure, which determine the pathways on which the rest of the code travels. Hysterias start to travel through the 0fs and are denatured, as a result they propagate and replicate streams of code that erect a series of vertical screens from their horizontal subspace. A verticality that is born out of the superhighway of multiplicity, or +0 space-time. Constructed along the rigorous lines of super-adjacency these surfaces operate within a Hyper-Gothic tradition: superimposed screens that ricochet off each other. These Gothic Houses magnify the prismatic qualities of the Hysterias’ space time and shoot out matter at diagonals across the space. These vertical shards of matter are travelling faster than the speed of light and bounce around the space, intersecting with any object or subject that they encounter. These super-Venturi’s, are both code and structure, they are micro-engineers manufacturing webs out of a Totality+0. Continuous with this coding and imperceptible from it, they weave an alternate space-time