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WELD JOURNAL

worlds &
existences
lovingly
depicted
coming soon

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WELDING

The simplest words are not always the best words:

World.
Existence.
Love.
Death.

When we seek to connect many with a thing (idea, event, place, etc.) we might
invoke the universal dimension. The idea being that the universal is simple,
because more people will understand the thing with less exposition.

Thus, we see liberal use of the universal. And inevitably, overuse. The
universal becomes trite. No more celebrity word boutique to clothe the thing. No
longer of interest, the thing becomes sleepy, and dies, but only not dies,
period, but dies out, dragged ooouuuut. Ironic, isn't it?

So, another attempt:

Worlds
Entered &
Lovingly
Deciphered.

This says: we are peripatetic. Our connections are provisional, yet intimate,
like ones forged in a hostel. By deciphering (lovingly) an event, I consent to
filtering the event through my person, as experience and critique (and love.)

Yet, isn't a loving traveler the most ravenous of all travelers? A loving
traveler is constantly mercerizing the traveled world, over-preparing the world
for receptivity, making worlds over-receptive to colors of partiality. In search
of the beloved, the peripatetic shrinks the painful elasticity of (world)
boundaries, to (lovingly) lessen the pain of plasticity, but inadvertently
strengthening the binding (separative) dimension.

Speaking of binds, just for kicks:

Work,
Exist,
Lead, &
Deliver.

Yikes.

And so:

Worlds &
Existences
Lovingly
Depicted.

Depicted? Shouldn't a journal dive deep into any given picture, to surface the
invisible world?

As it stands, as animals with tender skins, we're a bit neurotic about surfaces.
A surface is where light and air, things which we love dearly, kisses a thing.
The surface is beloved, the way we perceive and touch the thing.

The surface also seems to always be in crisis; it alerts us to other things that
threaten the thing—bacteria, grease, grime to clean and kill—and obfuscates yet
other things, brewing and pumping and churning things that we should've seen
coming.

But what if we were to consider depiction as an agitated state of a thing,
rather than the surface of a thing? Consider a table with a plate of food. What
is the surface of your meal? Is it the table, or the plate, or layer of oil
skimming the sauce? Is the surface the aura of heat and visible color that tells
you that the thing in front of you is a meal, and not a pile of garbage? Isn't
the arrangement of food on plate on table a depiction of a meal, where the
thingness of the meal survives the disturbances of noodles with a fork, but does
not survive swiping the plate off the table onto the floor?

When creating strong welds, the surface of the thing being welded must be
agitated to such a degree that it is radically re-composed (i.e. melted.) For
the integrity of the fusion, we must believe that the surface IS the thing, e.g.
a solid block of metal, albeit the array of atoms of the thing that is the most
agitated. Thus, the surface is a site of preparation for more thingness. The
integrity of the surface is the integrity of the thing and the capacity of the
thing to fuse with another.

Worlds &
Existences...

We weld words and images to give rigid approximations of a/the world. This rigid
approximation is a depiction. If we consider a/the world as existing as itself,
all the way through, we disengage our neurosis caused by over-surfacing.

...Lovingly
Depicted...

Weld Journal considers truths as idiomatic (i.e. the realized structuring of
events, even though the unrealized thing was semantically feasible) and thus
rigid only in the peculiarities of how fusible events are joined (welded, and on
which side, or joined by another, more lubricated method.) Journalistic
integrity—adherence to truth, authenticity, accuracy—requires some dimension to
be rigid. Weld Journal can be seen as a solecist experiment that is neither a
radical departure from nor a complement to a conventional code of journalistic
ethics. It's an agitation. It misplaces rigidity, by transferring the rigidity
of ethical code to the rigidity of a depiction—momentarily crystallizing a/the
world. By considering the unrealized structure, we welds events into something
that's impossibly more accurate than the idiomatic truth—a depiction.

When done lovingly (loving as the radical rearrangement and de-essencing of a
thing, sustaining our emotive love) this depiction can more accurately convince
you, without destroying the integrity of the world, of the existence of
a/this/our world.

info@weld.media