Out There Making Their Moves (text), 2008
Out There Making Their Moves (text), 2008

Out There Making Their Moves (text), 2008

text by Andy Weir as part of allsopp&weir; ArtQuest Residency in Madrid, 2008

Out There Making Their Moves

Like gold or cocaine, heat is a force like colour that sets aside the understanding in place of something less conscious and more overflowing, radiance instead of line, immanence instead of that famous bird’s eye view…

…As our planet heats up, is it not possible that not only a new human body but a new type of bodily consciousness will be created…a consciousness that reattaches the body to the cosmos.

I can feel the heat closing in, I can feel them out there making their moves .

Out there making their moves. EXT. scrubland under the arc of the Teleferico, cracked mud. Its supposed to be anywhere but you can see a few estates on the edges of the frame. OF THE SPIRIT OF GRAVITY stands on a cardboard box. He’s around 50-60 years old, scrawny, slightly hunched, dapper. He could be a pimp. He wears an old suit and a papier-mache full-head mask.

TELEPHONE: Alright mate, its Charlie

- Charlie, how are you?

TELEPHONE: Yeah not bad not bad mate. Are you following my instructions?

- Yeah, sure, how should the mask look?

TELEPHONE: Its like a stag, with horns like, holes for eyes, and there’s a trumpet yeah?

The mask looks like a shaky drawing, with lines marked and re-marked until they wear through the page. It’s yellowy like old book and a few lines of old book can be made out at its surface. De colinas y vientos de cosas que se denominan para entrar como árboles o nubes en el mundo De enigmas revelándose en las lunas rotas contra el aljibe o las arena yo he dicho y esperado Creo que nada vale contra esta caricia abrasadora que sube por la piel Ni el silencio, ese desatador de sueño Vivir oh imagen para un ojo cortado boca arriba perpetuo.


OF THE SPIRIT OF GRAVITY holds in his left hand an old military bugle from a second hand shop in Legazpi. He wears the papier mache stag head and stands on a cardboard box. His right hand is sometimes on his hip and sometimes gesturing.

- He says you have to try and maintain a constant disco beat on the bugle. Can you try it?
The bugle is slipped into the mouth hole and exchanged for a sound. Spittle is forced through rasping lips which shape wind sharply through the bugle body and out of its bell.

OF THE SPIRIT OF GRAVITY is a disco man. He was there in the 70s and is touting his disco beat machine around Chueca.

Let me turn now to what I consider to be the three important characteristics of disco - eroticism, romanticism, and materialism…Popular song's eroticism is ‘disembodied’: it succeeds in expressing a sense of the erotic that yet denies eroticism's physicality…disco is insistently rhythmic in a way that popular song is not…a form of music that denies the centrality of the phallus while at the same time refusing the nonphysicality that such a denial has hitherto implied.

OF THE SPIRIT OF GRAVITY tries to maintain an insistent rhythm but is let down by his lack of technical prowess on the bugle, which introduces an irregular counter-rhythm cutting across his toots.

- OK No more practice, we start filming soon.

TELEPHONE: Mate, Its Charlie

- Hi Charlie, what do we do next?

TELEPHONE: Did you get a whore? With big tits?

OF IMMACULATE PERCEPTION stands on another cardboard box, naked except for a papier mache mask. It looks like it could be based on a fox or a cat but its lines are unclear. She used to dance in disco clubs in London in the 70s.

- You know your line?

OF IMMACULATE PERCEPTION: Es despues del fin del mundo. no lo sabes todavia?

TELEPHONE: Get her to repeat it yeah? While the trumpet toots. Well done lads, you alright?

OF IMMACULATE PERCEPTION: Es despues del fin del mundo. no lo sabes todavia? Es despues del fin del mundo. no lo sabes todavia? Es despues del fin del mundo. no lo sabes todavia?

TELEPHONE: I’m jumping out my body mate

But romanticism is a particularly paradoxical quality of art to come to terms with… I don't say that romanticism, with its passion and intensity, is a political ideal we could strive for - l doubt it is humanly possible to live permanently at that pitch. What I do believe is that the movement between banality and something ‘other’ than banality is an essential dialectic of society, a constant: keeping open of a gap between what is and what could or should be… Materialists have to work so hard not to take matter at face value that they often end up not treating it as matter at all.

OF THE SPIRIT OF GRAVITY makes his approximation of disco while OF IMMACULATE PERCEPTION dances and repeats her line. Two cameras circle them, avoiding each other’s gaze. Shifting between close-ups, picking up light on the squashed nose-bridge of glue-paper; and long-shots, picking out the figures as points against the desert. Sometimes they stay fairly still, shaking like the elementary vibration of matter. Other times they swerve apart each moving, slow pans across a leg and arm. Quite soon everyone starts to tire, the dancing slows, the words become a slur, and the toots become a dribble.

TELEPHONE: Did it happen yet?

- I don’t know, when do we stop?

TELEPHONE: Did it happen yet?

sun ra