Filming /  by Justin Harrison

Process

Research

I spent the afternoon in the studio trying to film my work. I should have know that it would be challenging. Some is too big to fit into frame without standing far back… and my studio just isn’t that big. it was in collating the work that I encountered a few issues.

Ok I had a bit of a melt down. I’m wasnt sure I liked the work any more, and the plan to hang it in a circle…mmm I’m not convinced now. I’ve tried various iterations but it didn’t feel right.

I’ve been stressing about it for a couple of days but realise a few points. First I’m not finished this isn’t the summation of where I’m going. Second and perhaps the most significant point, the works I’ve been making are fast, time limited pieces an intentional move away from my historic practice, in the intent to free the work up, explore and be more generative, to put my own practice into a liminal state.

I actually want to pause here for a moment because I think this has been a crucial element of the MA for me, but I wrestle with it too. Letting go of my usual making practices of refining the aesthetics and concepts has served to permit the work to go further and deeper. And this is what the work reflects as a collective. I probably need to reread my blog a few more times or at least revisit the assessment curations. As its from those that I have found the deeper connections and resonances.

Specifically relationships to materials and language, the movement of meaning in language and the movement through passage. In addition finding connections between key thinkers and their work. There have been a number of discoveries for me that I need to be mindful of, hang onto the mini revelations. I forget all too quickly.

Also there are simple elements that I still particularly like, the hinges in branches, the pegs and the abstraction from the paddle form.

This also happens a lot - that I make work and then get over it very quickly-as I think about where I want to go next. Clay pots and extra large drawings, animated drawings - fine art animation.

What also come out of filming was a line formation large to small of paddle forms. Something in it caught my attention. Could work for the show..

In addition the drawing has found new strata’s and a poetic discovery of the hidden. Although I struggle as I realise that poetry is a bit of a dirty word for me, that it is associated with some form of creative indulgence.

As I think about making the film, my practice I realise I prefer the word passage to liminal as I don’t believe that it is an idealised place to stay or take up residence. Passage infers movement and progression.

Translation infers understanding movement yet interpretation, but evades ownership.

I’m still experimenting too, in fact it’s increasing and I hope its embedding - the more exploratory practice, asking physical questions of my work, hence the blueing of the stick.

 

This took too long /  by Justin Harrison

This article ahs been on my bench for the longest time, I don’t know quiet why it took so long to make.

I’m really wanting to conclude one or two key pieces as I rapidly draw to a close of the MA. However I’m not sure this is wise as I try to acclimatise to a new way of approaching my work.

I’ve modified it as the details I first drew feel excessive and lack a certain honesty. I’m mindful of the work retaining it’s integrity. I’m mad because I know I can do the stitching better. But overall it’s ok.

I feel the colours the soft dense black of the burnt wood against the burnish copper next to the warm ochre of the leather all coalesce to make something more for me. The item a tool, a ritualised tool with a distinct purpose but obtuse as to what it is. Passaging through uncertainty requires rituals that are ambiguous at best.

I am tempted to fuss with it some more, extend the height of the burn, something about the aesthetics for me isn’t quiet right…

 

Studio notes /  by Justin Harrison

This is the perils of limited materials - reclaiming stuff means that I only have limited supply of a particular medium, wood button or metal hooks etc.

Of the two wood formations I can’t decide which I prefer best and actually want to make all of them however there is not really enough. I have to make a decision….commit!

Also I have a new obsession of Indigo blue, it actually moves me. It’s like the depths of the sea of the expanse of the universe for me. It holds mystery and passage. Can a colour do that? Is it just me?

I’m cautious about painting wood - it’s a pet hate of mine, I love the grain and the natural colouring and variants. Yet staining the wood is an instinct I can’t resist. Maybe just a bit…

 

Imaginary Bundle for Passage /  by Justin Harrison

This motif has been recurring, well several motifs have been recurring and I want to pay attention. I sometimes move on too quickly from one idea to the next, when actually I need to pause and contemplate what is occurring. The past two curated blog assessments have been really useful in taking stock of what is happening, seeing common threads and how there is continuity to my work, visually and conceptually.

This drawing isn’t my favourite… today but…that might change. However I do find it informative and encouraging. It’s a development form the ‘Imaginary bundle’ drawings I made last year, taking the more abstracted form of the paddle and thinking about the emptying out and filling. Following the idea fo the Kenotic and the Khora. Exploring the negative and positive spaces in connection to the role of Derrida’s ‘Differance’. The behaviour of the Liminal and passage through.

I want to go bigger is my first response, having finished it. It needs more mass, more presence. To go larger has been a growing feeling for some time and has been affirmed in my last discussion with Jonathan. All the cute little drawings I make in my sketchbook are impotant as they inform and help me to imagine. But the scale is now feeling more and more important. Presence and the tone of voice, seem to require a a different scale.

Things we can fit into our hands are intimate and dominatable, things we can put our arms around are relatabl,e close to human form and equal. Things that are larger than us are beyond us and our control they take on a different gravitas. I guess it’s this gravitas I am looking to engage with.

So I wonder what happens when I go up in scale to A00 or two stories high? How/where would I show this? and would it be worth the effort and resources? I often fall over on these questions and don’t make work because of these restrictions, so maybe I need to work harder to overcome them….

 

Khora: The Hermeneutics of Hyphenation /  by Justin Harrison

I found a curious connection whilst researching in a paper entitled Khora: The Hermeneutics of Hyphenation by John Manoussakis. I don’t understand it all and I don’t know that I agree with it all, but towards the end I did find some parts that are interesting.

Outside the city of Istanbul there is an ancient monastery that is known to all the sources under this odd name: the Monastery of Chora (an alternative transliteration for "khora").1 Its unusual eponymy is explained by its even more extraodinary frescos and mosaics that dated back to the fourteenth century. It’s iconographic program includes depictions of both Virgin Mary and Christ that bear the same inscription alike: The Khora

In the first of the two plates we can see a mosaic of the Virgin the inscription reads' {The Khora of the uncontainable).

In the second plate, Christ is depicted with an inscription that and reads as follows: ' (He Khora ton Zonton = the khora of the Living)


In the paper he goes on to explain:

During the Incarnation, Platonic khora, serves as the intermediate, the triton genos (man and the divine; she [Mary] is the point of contact between the the two poles of all dualisms (Greek or Jewish); she is the overlapping place of the two circles, their meeting place and of course, the hymen that hyphenates them. Like the receptive character of khora, Mary receives the entire deity within her body without appropriating it into herself. Thus, she becomes a paradox, an antinomy, the chore of the akhoron, a topos that sustains what is a-topos and u-topos: the receptacle of the un-receivable, the container of the uncontainable.

In the second plate, Christ is depicted with an inscription that runs in both sides and reads as follows: ' (He Khora ton Zonton = the chore of the Living). Christ is par excellence the khora that receives both humility creation in their entirety, but with no confusion, in His incarnate person. The Incarnate Christ bears the same characteristics that ruled over His hyphenated birth: neither exclusively God nor quite Human, but both God and Human; neither just the Word nor only Flesh, but the Word who became Flesh; neither high in the heavens nor down on the earth, but the channel through which the heavens emptied onto the earth and the earth ascended in the heavens.

I don’t fully understand this but then there are elements that I am very interested in, The Khora and emptying out in relation to Christ and Mary as intermediate - between man and divine. The liminal?

In his paper Manoussakis sources Derrida and John Caputo’s work on Derrida, a key source to my research. I like it when connections present themselves to me, its encouraging.


 

Anselm Kiefer: /  by Justin Harrison

In thinking about large format drawings I remembered Anselm Kiefer. His work centres upon using natural media at large scale and at times drawings falls off the wall into sculpture. His use of  straw, ash, clay, lead, and shellac.

I’m jealous of how prolific some artists are, Keifer especially. Yet I feel at times my work moves too slowly along a concepts and motifs. But then this is me thinking too much - when I’ve learned that its better just to make as quickly as possible. Then think about it..

I am mindful of space and how to best occupy it with drawing and with sculpture, especially for the upcoming show. How do I best conclude what I have been doing and leave space for it to continue after?

It’s this scale thing again, I love drawing and somehow this feels like a rightful progression, to go bigger and offer some of the work more gravitas seemingly. I need to draw more - I wonder if I need to make more preparatory drawings or just have at it.

I’ looking at spaces differently - imagining drawing in it, what it might look like to fill it.

///

Currently listening to the sound track of people working with wood in the forest. It’s somehow pleasing and calming for me…weird.

 

Tools for drawing: Escillation. /  by Justin Harrison

How do I go big? Following the tutorial discussion with Jonathan. I have been meditating on what drawing larger could look like. In addition I found the same topic coming up in the MA session this week. We were discussing challenges to our practice. And again one of the points that came though is how I want to find ways to facilitate working larger now and after the MA.

What practical steps can I take to make it happen? Point that came up was to make the opportunities if I don’s seee them available. To approach people/companies/bodies and propose the projects, using the momentum from the MA and the show. Find ways to escalate things.

I keep on returning to the clay drawings, I like how they are connected to the earth, the ground, the natural world. In addition the work has a lower impact on the environment - which I am becoming more and more concerned about.

Why big? Why does it matter? In discussion with JK part of it was just like it felt as though it was time, a natural progression and desire of the work, permitting it to evolve. Also my preoccupation of materials and the work speaking

I’ve had fun making the tool for drawing, basically a giant icing bag - although that doesn’t sound so cool. However in thinking about my practice its intrinsic to the process and expression. I’ve mentioned before about ‘ritualised tools of passage’ - The improvisation and creation in response to the environment or absence of environment in the ‘Difference’. The liminal almost demands the generation of such items. From nothing comes something doesn’t addiquately expression it but falls in the right direction. The’ fertile emptines’. In folklaw often the protagonist returns from passage with a sacred item a hard won yenta times terrifying tool of significance and assiatance. For exmple The folk story of Bluebeard.

Perhaps this could explain the repeated motif of the paddle and the abstraction of the paddle form. The difficult yet fundamental protagonist. Or a more elusive and fluid character both benign and baneful and neutral.

WORDS:

Antagonist
Protagonist
Irritant

 

Obsessive lists /  by Justin Harrison

So here’s thing. I like to make lists, and coming up to the show and artit’s film I need them more than ever…

This is as much to document and maybe refine my list making…

Business cards

Calendar/ Schedule

Paddle split

Translation research

Film

Make bullet point notes for film

Make story board.

Conclusions - what do I know now that I didn’t before.

  1. Bundle drawings

  2. Bleed drawing Large, include template to narrative

  3. Bleed drawing animation, include clay

  4. The significance of drawing to my practice, pre sculpture, post sculpture, independent of sculpture

  5. Batton paddle - conclude

  6. Liminal sextant

  7. Paddles in general

  8. Kit bed??

  9. Slip drawing- collect clay and draw on tree - IMPORTANT

Work for Show

  1. Threshold Sextant/calendar

  2. Batton paddle

  3. Bow

  4. Strap bundle

  5. Slip drawing

  6. What am I showing?

I’ve a number of side projects I am tempted to start but realise these are for the future. Inspired by the current faster studies.

Future work

  1. Threashold kooking pots, Black and neutral/ White grog clay (after discussion with another smartest I am pausing any porcelain ideas as too finicky

  2. Kooking stick

  3. Paddle fans would like to explore more, by just making more

  4. Kit bed - new venture…forest based

 

Film Plan /  by Justin Harrison


Middle voice

The important ace of drawing to my practice

Making

Liminal

Language, poetic discovery of the hidden

Ritualised tools of passage

Passage

Making

Images

Poem

I’m a maker: I make drawings m, sculptures, images

Materials are vital, the words for my sentences. A way of articulating the middle voice.

Film cutting wood, leather, bone

Film drawing

Film forest

Animation

Drawing in clay in forest 🌳

5 points to describe your practice

  1. Drawing

  2. Sculpture

  3. Language

  4. Change thought to liminal passage ref paper

  5. poetics

Multiple shots of making and materials to articulate the core of my practice?

 

Richard Long /  by Justin Harrison

Following a discussion in the MA group I've begun looking at Richard Long again, as his work shares sensibilities with mine. the use of clay/ mud from origin and the use of natural materials, clustering, bundling.

Historically I’ve not paid too much attention to Richard Long’s work. For various reasons I’ve felt distant from it. In all honesty I don’t have a lot of time for performance work or land based art. It felt like it kinda fell into a dated era in the 80’s and 90’s, one that I didn’t connect to. I preferred a greater level of narrative, even if only implied.

However on reflection of the work I’ve been making the past year or so I see a lot of commonality. His choice of materials being a key one, mud stone. The minimal and honest  presentation of the work as a form of documentation or record keeping. It’s important to know what is and has been and contextualise my own research and outcomes.

In addition I also notice with his constructed a stone cross that it is very close aesthetically and  follows similar rules to my drawing for imaginary bundles, the informal organic interlocking.

I do think we take separate paths when it comes to concept, he gravitated towards the natural, pattens, human presence in nature and it’s physicaldocumentation, where as I strive towards examining cultural passage through language, the unravelling of mystery, poetry.

Where as Long describes his work in this way.

‘you could say that my work is ... a balance between the patterns of nature and the formalism of human, abstract ideas like lines and circles. It is where my human characteristics meet the natural forces and patterns of the world, and that is really the kind of subject of my work’ (quoted in Richard Long: Walking in Circles, p.250)

I do like the scale of his mud drawing that is inspiring and looking at his larger drawings awakens deeper desires , and I do wonder how I too can get a chance to make on a similar scale. Again following the discussion with Jonathan my work needs to scale up.

Could I do that at the show? Fill a whole 6meters of board with a clay slip drawing? JK did say dream big…

 

Tutorial 18/04/2023 /  by Justin Harrison

We covered a lot of ground - which is why I like talking with Jonathan so much. Always so much to discuss.

I spoke about my current interest in translation, around Benjamin and Bhabha and Derrida. I’ve found yet another connection that they share. In my work I’m looking at translation as passage , that it too is a form of liminal passage.

I’ve managed to contact a Professor who specialises Derrida and intercontinental philosophy, I’m hoping to discuss with him n Derrida and the divine and the liminal, he’s also studied languages to better read the original works - so I’m hoping this too will expand the research.

I’ve been thinking about the show a lot and the discussion with Jonathan was very helpful to.

We had quiet a lot of discussion about my drawing, looking back at which ones were worth continuing to explore more - imaginary bundles, negative passage and the general drawing of my sculptures. In discussion it came up how central drawing is too my practice, to making sculpture and after. I've always gravitated to drawing and it's become central to my process. That it can begin or end a work. It’s core to the work rather than a means to plan or document.

Another point that Jonathan raised that I have been thinking for some time is about the scale of my drawings and sculpture. That this feels like a time to go big. I need to meditate on this I had been thinking about making 2-3 meter high drawings, but then Jonathan challenged me to work way bigger 2 - 3 stories. That scares me but also excites me. What would I draw? What would merit such effort?

For the show I have been thinking about making an installation of the sculptures that I have been making over the past few months, to hang them in a vertical circle, and to possibly offset a wall drawing in clay (Research Richard Long) The intent is to dialogue about passage/translation through the liminal. Looking at the ritualised tools of passage - especially the modified paddles.  There appear to be various possibilities around showing this format, however I could also move away from the circle and show drawings and sculptures alongside each other...but this needs more thought. How would I do it and what would it bring to the dialogue?

JK also discussed with me the titling of my work to help give access and context. This has been a practice whenever I blog about a piece I try and find some sort of title and there has been the phrase, Ritualised tools of Passage and Poetic discovery of the hidden. I also found the phrase 'Middle Voice' which is an interesting term. Originally in a text from Derrida, however it is also a grammatical term.

Middle Voice

A voice that is neither active nor passive, because the subject of the verb cannot be categorized as either agent or patient, having elements of both.

I like this very much and want to incorporate it. Ill need to build a catalogue of terms an titles to aid access to the work, but without oversimplifying.

So much to consider and plan and I’m also need to process a film about mu practice…

 

Unexpected /  by Justin Harrison

Something happened tonight, an unexpected flurry. I’ve been angsting about the final show. A little lost at sea with my work. I have ideas but didn’t feel convinced. The past week or so Ive been in the studio just making and doing a few drawings around concluding bits.

I sat down tonight to make some drawings, finalising some ideas and have instead generated a whole bunch more work to make. Too much to make for the show but that’s fine it’s work I can continue with after the MA.

The practice based research throws me at times, I feel like I should be in books and papers, which I do - and have too many! But the making and drawing is a valuable form of research and development not an end process - which I keep forgetting.

I now have a number of pages of sketches that I can work up into sculptures or more involved drawings.

But how that’s my question, what occurred to summon this? How do I keep it?

There’s some interesting bit happening for with the pot. (At the back of my head is the smoking pot from Abrams encounter with Yahweh and the question was that a Liminal Moment a generative moment?)

In addition I’ve been wondering about basic needs of the Liminal Personae.

I’ve begun to think about the passage - basic needs. Food, Water, Sleep, Movement.

The circular form a kind of navigational device, measuring the character for travel. I want to put metric markings down the rod.

More paddles just because I can’t leave them alone.

A travel bed - but more.

The cooking pot and stick.

///

Shopping

https://www.rapidmetals.co.uk/product/copper-1-4-dia/

 

Show Planning /  by Justin Harrison

I’ve been wondering about this for a while. Let it sit in the back of my mind. Sometimes I find it’s better to let things percolate. I’m thinking about how and what I show, part of me is tempted to make new work…but I also know the dangers with that. It’s hard I always want to be progressing and for that to happen I want to make new work, use the lessons learnt from what I have just made. But its also time consuming, and perhaps more importantly I need to pull on what has happened over the past two years on the course.

A key lesson learnt is the value of me liberating my making, stopping myself from overthinking and working which ultimately leads to me editing all ideas and not making so much. In working quick and dirty I’ve found that my ideas are able to make more connections and resonances, the practice based research goes deeper.

So in many senses it seems appropriate to show all the experiments rather than a polished final artwork. Although this is hard too as I imagine the weight of expectations of others. But then I think making the installation similar to what the drawing is in keeping with my research paper too. A nod to Ursual von Rydingsvard curation.

Hung from hopefully a unistrut using cables suspending the work feels more sympathetic that securing to a wall, but at a push that could work to, it feels kinda big maybe 3.5m - 4m square, but that’s kinda greedy.

But more than that an exploration of the liminal, I do wonder weather objects are allowed, making something physical seems almost contradictory. But I return to the phrases ‘Ritualised objects of the liminal’ and ‘Poetic discovery of the hidden’.

I do have a new piece that might also translate better, in interpreting the Liminal and my investigations, but I need to make it and it’s location bound so I don’t really know how it would show in the gallery context…and I need to make it yet. It could suck.

I want to meditate more on the past two years and reread my paper, so older blog posts, there’s so much that I have already forgotten.

 

Bundle Band /  by Justin Harrison

Trying to conclude some work that’s been waiting for my attention in the studio. Interestingly as I finish off these stray pieces of work I see more connections to what I have been making and researching.

Jonathan has spoken about concluding not finishing our work an now it’s starting to make more sense. Pulling together the diaspora elements and making sense of the relationships between sculptures and drawings, notes, and writting.

I’m thinking that I may try to direct my blog work to collating to conclude.

Hanging Bundle. Suspended Bundle. Kenotic Filling.

Kenosis and Khora.

In semiotics, Khôra (also chora; Ancient Greek: χώρα) is the space that gives a place for being. The term has been used in philosophy by Plato to designate a receptacle (as a "third kind" [triton genos]; Timaeus 48e4), a space, a material substratum, or an interval.

Obsession /  by Justin Harrison

For some reason I am still obsessed with the movie The Revenant. I found a documentary on it and have watched it as I make in the studio- I’ve totalled about 6 times now. I love so many elements, the story of making, the relationship with the land - it’s importance, the narrative of people and the forest. The Music. It picks on elements from my dreams, and deeper parts fo my subconscious.

There is some deep mystery in the forest and it moves in a different way around the frozen waterfall. The water somewhere between pouring out and becoming, the space around creation. Differance.

I want my work to connect, touches upon these elements.

///

Foot note: The director and another individual talk about racism - their beliefs about what it is and it’s consiquences. I disagree. They makes the statements from a white perspective, which will always be problematic. He and understates it’seffects and consequences. He over simplify what is a complex and dangerous issue.

 

Practice /  by Justin Harrison

I'm surrounded by a mess of clamps, stray wood and glue. I'm wondering how I made any work before. I'm challenging myself to another spontaneous fast piece. I'm getting in my own way of making and it's annoying.

I have a creative tantrum and brake stuff.

/// Day 2

I had managed to glue and clamp some stuff yesterday before I lost it, as I continue to work on it I make different choices changing layout and direction, I question the wood where it wants to go what form it needs to take to speak, to articulate of the in-between, at times I purposely plane and smooth off the wood from it’s original texture. You can't see it easliy- but I know. Changing states. The wood came form a couple of boards I found in the street, the wood is coarse and rough with glue residue. I also blacken two slats - I’m constructing some strange object - born for the liminal. On object of negotiation.

I wonder wether to paint some or all of the wood. Normally I recoil from painting the material and hiding its nature, but I'm also considering my instinctual colour palette, black browns amber and occasionally blues. As I look over my blog and instagram account I see a strange consistency.

I'm asking, looking for the poetry of the work

I also have been dreaming about the clay drawings, about camping overnight beside the tree, ritualising the process

Heart spirit Mind soul in alignment. Generatiional imbalance.

 

Translation /  by Justin Harrison

In researching ‘Translation’ I am of course looking at Derrida - specifically on Difference as axial point that may be connected to the liminal. Marzieh Izadi says this about Derrida’s perspective on translation, a decentering of positionally.

“translation does not owe the original text for its existence, rather, the original is in the translation's debt for its survival (1923).” Marzieh Izadi
Translating Translation: Deconstructionist Approach towards Translation,

https://translationjournal.net/April-2016/translating-translation-deconstructionist-approach-towards-translation.html

According to Derrida, ''Any language event is an irreducibly singular performance with the meaning that effectuates from a systematic play of differences in a specific context'' (Davis, 2001:21).

This systematic movement of difference among signifiers is not just confined to linguistic signifiers, rather, it hosts a wide range of cultural, socio-institutional, economic, etc. signifiers, too (Davis, 2001). To complicate the issue further, each language, according to Benjamin (1923), has a specific manner of meaning which reverberates through its systematic difference of meaning, and this means that it is not feasible to extract meaning from one language system and transfer it to another, as each language has a unique manner of meaning. This point turns on one of the core tenets of deconstruction, holding that, due to the irreducibly singular performance of each language event and the myriad of contextual factors which a translator must be aware of, the ability to find a final, exhaustive interpretation is a utopian ideal, since every interpretation or translation of a text inevitably curtails some contextual factors.

The position of a thing is most imortant, and equally also unimportant.

///

Is there a connection between Translation and Kenoticism? Meaning moves from sign to sign, emptying out and filling as the passage is undertaken?

///

PASSAGE

Derrida assigned the term aporias - '' non-passage or impossible passages'' (Davis, 2001:93) to alleviate the confusion surrounding his definition of decision. He then further states that ''There is no passage and so the translator must decide the undecidable, arrive at a translation without having passed through an open, already determined passage'' (ibid: 94; Davis, 2001).

 

Negative Passage /  by Justin Harrison

More animated drawing. This worked well the last one I experimented with and I am keen to see where it might go. First is. a Gif then the second a rendered video - not sure if there is a significant difference.

Still mindful of translation, demonstrating a passage.

Silent poetry.

Looking for my poetic discoveries of the hidden.

The animation lacks a little finesse, I’d like smoother transitions and I think the drawings could be a little more on point. I’m still experimenting with the process of drawing and deciding what feels best. A lot of it seems to be me figuring after I’ve made the drawing. I do like the freedom of just making and not overthinking. I get surprised at times when I like the outcome a day later fo see something of value, yet its also infuriating as its so hard to reproduce the effects I especially like and want to capitalise on. I also made a mistake in the tweeting between frames (In passage) and the timing is out but I like it. I like getting lost in the frames, that it never quiet settles.

Basically I get fussy. When I can’t be.

 

Process Post. /  by Justin Harrison

Nothing too deep or revelatory. More me just making sure I’m writing about my process.

Yet something feels right about this, somethings I make and am unsure, but this I’m ok with.

Materials lead me again and there is something provocative and pleasing about the natural canvas.

I’m making a large icing bag basically, but for clay. I’m making my own tools to work with and that to is satisfying. I’m tempted to get ealborate, but I should have learnt from previous lessons that it will slow me down, but it’s hard - I want to make pretty!

The plan is to locate naturally occurring clay and use it as a medium to draw with, although I am now having to research and figure where I might find it. This could involve a number of exploratory walks and scrambling but then I like that kinda thing.

I feel drawn to the process of engaging with the land, gently moving an element and decontextualising it into a medium and meaning - a form of translation.

This too I’ve been looking at ‘Translation’ what does it really mean to translate language and other things? What and how does it happen? It’s connected to the Liminal.

Also please note it took me a ridiculously long time to figure the pattern out, when it shouldn’t.