vanishing point but will never reach it. This bears aspects of fiction, virtuality or consciousness of transcendency for me. Further in connection with these thoughts VOR DER EINVERLEIBUNG (before assimilation)[see TRANSFER page 139*] or the mini film FARAN [see TRANSFER page 148*] came into being. Well, dear guests, now I would like to present you also with an example of our textual discourse. It is about the minifilm FARAN. Please let us watch these segments together on the screens. We begin on page 62*. There you find the short cartoon film FARAN. It shows a wheel that turns around its own axis constantly in transmission speed. This film I sent to Mrs. Binnewerg on december 1st 2007. Please change now to page 63* (bottom right)! Here Mrs. Binneweg answered to me on December 6th 2007 this way: "The work FARAN does not  become apparent to me. Maybe you could write something about it in the near future? The issue about speed I did not get; maybe one does not have an imagination of one's own walking pace in front of the screen. I do not understand the design (especially the red-violet signet and why it is an abstract wheel)". Please change now to page 65* (bottom left)! In the email of December 11th of 2007 I answer Mrs Binneweg as follows: "The short film 'Faran' represents as mentioned a wheel in transmission speed. Here the film is in relation to the title. If the meaning of 'faran' originally is 'to walk', 'to run', and so on then this wheel is in walking motion even though it is in driving motion. I find it astonishing that you could see the very speed of the step of a foot. What do you  mean by design of the wheel? It is a wheel drawn on a computer which may make it appear abstract for you. Because I am engaged with 'driving'

as a new mass religion I also engage with the utensils and objects necessary to practice this religion. Those can almost be named fetishes probably in regards of car driving, since fetishes are artificial things  loaded with a certain (strong) meaning. In the field of cars these are mostly brand names or company names which are readable on all car parts, hence also on the wheels . This wheel does not bear a brand but only a violet-red signet. What exactly does happen in your head when you see this signet? What would the difference be if it would say 'Nissan' or 'Opel' on it? What would be if it would say 'Nestle' or 'Esprit'? Please change now to page 66* (below left)! In the email from December 14th 2007 Mrs. Binneweg writes to me then as follows: "Again about your FARAN work. Maybe the problem I have with the speed is related to the fact that the wheel is posted to one spot of the screen and there it turns like the wheel of fortune. A 'real' wheel also turns but implements a process with it by which it is moved itself. Then a double movement so-to-speak exists. When the wheel is turning just like that by itself then it does not move from the spot thus doesn't get anywhere. It is a wheel emptied of meaning so-to-speak. Something like that may also be intended. Again about the design of the wheel: I am only asking for details because it is important for me what something is made of, how large it is, where it is, and so on; because it has an impact on the meaning. An image of a three dimensional wheel would have certainly aroused something else than a wheel made of sausages or a wheel of plastic. A wheel which takes up the whole screen brings up different questions than one that takes up only an eighth. A wheel that turns above looks different than one that turns in the centre and one that rolls diagonally across the screen again looks different and so on. This does not mean now that I think something like that is able to be planned. Most of the time the working process yields the decision for a certain solution. So for example I only discovered the attrition work last week because sheets carbon paper were lying around in my place just so and I had a weird relation there. Possibly because the backsides were gleaming bitumen-like....To come back to the signet again: could it also be green or blue or not exist at all? I do understand what made you think of it in relation with car brands but not in relation with the intention of the work Faran to want to represent speed. What do the two issues have to do with each other? Or asked differently, is it about the social manifestation of driving or driving per se?" To finish please change now to page 69* (below left)! Here you can read my answer to Mrs. Binneweg from December 19th 2007: