O - towards a self-portrait


A personal philosophy that considers how self may be assembled through the anticipation and remembrance of communal acts.

This particular understanding of self rotates around a public persona that is given the name 'O'.


I asked Karen Sandhu if she has any questions about the 21 claims put forward in the following text. Her questions and my replies are here.

I then asked Nisha Ramayya if she has any questions about the 21 claims put forward in the following text. Her questions and my replies are here.

Also here are some sketches towards O.

The following text is divided into 210 sections. It is a starting point for this project, which will branch out from the philosophy outlined by the following text as a whole.


1

I am renewing my intentions in this place in sympathy with theirs.

I am writing my self-portrait.



2

In the same place at the same time we present our alignment. It’s political.

I am writing my self-portrait.



3

Unaffordable space is free to be used as a scene for communion.

I am writing my self-portrait.



4

This enters a social space but there is a limit. This helps to define the limit and helps to set the tone.

I hope to see you somewhere plausible.



5

We are renewing our intentions in this place in sympathy with one another. Our intentions are respectful.

Our intentions are never respectable.



6

O is my outward projection, the visible spirit, a character in a kind of fiction. It will or it might happen here.



7

I don’t want to feel that I’m really there. 

I am writing my self-portrait.



8

I will see you somewhere plausible.

I set myself up for the scene. Or I set up the scene for company.



9

In the same place at the same time we present our alignment. It’s political. Our interactions are never respectable.

Our interactions are respectful.



10

I don't want to feel that I'm really there.

Poetry elevates to romance. At the centre is O.



11

This enters a social space. There is a limit. This helps to define the limit and helps to set the tone.

It is pointing towards a freedom.



12

It will or it might happen here, a kind of fiction.

I am writing my self-portrait.



13

We are presently engaged in the work of embodying the act of looking forward.

I will see you somewhere plausible. 



14

Do I presently dream in anticipation or in mourning?

Whenever, wherever we are, we are spilling out or we are in retreat.



15

In the same place at the same time we present our alignment. It’s political.

Poetry elevates to romance. At the centre is O.



16

Our interactions are never respectable.

Our interactions are respectful.

Stop tracking with thought.



17

I set myself up for the scene. Or I set up the scene for company.

I set myself up for that freedom.



18

We are presently engaged in the work of embodying the act of looking forward.

Unaffordable space is free to be used as a scene for communion.



19

The place is irrelevant yet necessary.

I am writing my self-portrait.



20

I will see you somewhere plausible.

You will be met by O, my outward projection, the visible spirit.



21

We are renewing our intentions in this place in sympathy with one another.

Poetry elevates to romance. At the centre of this romance is O.



22

Home, home away from home is open, a place of freedom.

It will or it might happen here, a kind of fiction.



23

In the same place at the same time we are in alignment.

We are following their dreams.



24

I am respectful, not respectable.

I don't want to feel that I'm really there.



25

I am presently engaged in the work of embodying the act of looking forward.

I am pointing towards an imaginative space.



26

Here we are together. Don’t mention it.

Stop tracking with thought.



27

Wherever we are, we are spilling out or we are in retreat.

I am writing my self-portrait.



28

Do I presently dream in anticipation or in mourning?

I see you somewhere plausible.



29

We are following their dreams.

I don’t want to feel that I’m really there.



30

Here we are together.

Unaffordable space is free to be used as a scene for communion.

Don’t mention it.



31

I set myself up for the scene. Or I set up the scene for company.

It might happen here, a kind of fiction.



32

Stop tracking with thought.

Poetry elevates to romance. At the centre is O.



33

Home, home away from home is open, a place of freedom.

I will see you there.



34

I am presently engaged in the work of embodying the act of looking forward.

The place is irrelevant yet necessary.



35

We are respectful, not respectable.

Wherever we are, we are spilling out or we are in retreat.



36

This enters a social space but there is a limit.

This helps to define the limit and helps to set the tone.

I am writing my self-portrait.



37

Unaffordable space is free to be used as a scene for communion.

Home, home away from home is open, a place of freedom.



38

I am pointing towards an imaginative space.

O is my outward projection, the visible spirit.



39

We are renewing our intentions in this place in sympathy with one another.

We are following their dreams.



40

Wherever we are, we are spilling out or we are in retreat.

Poetry elevates to romance. At the centre is O.



41

I said I’ll see you somewhere plausible and here we are, together.

Don’t mention it.



42

This enters a social space but there is a limit. This helps to define the limit and helps to set the tone.

The place is irrelevant yet necessary.



43

It might happen here, a kind of fiction.

We are respectful, not respectable.



44

I set myself up for the scene. Or I set up the scene for company.

I am writing my self-portrait.



45

We are following their dreams.

Stop tracking with thought.



46

Do I presently dream in anticipation or in mourning?

In the same place at the same time we align. It’s political.



47

It will or it might happen here, a kind of fiction.

Poetry elevates to romance. At the centre is O.



48

Unaffordable space is free to be used as social space but there is a limit.

This enters the space.

This helps to define the limit and helps to set the tone.



49

Here we are together. Don’t mention it.

I don’t want to feel that I’m really there.



50

The place is irrelevant yet necessary.

We are respectful, not respectable.



51

Home, home away from home is open, a place of freedom.

I am pointing towards a place of freedom.



52

Wherever we are, we are spilling out or we are in retreat.

O is my outward projection, the visible spirit.



53

I see you somewhere plausible.

We renew our intentions there in sympathy with one another.



54

I am presently engaged in the work of embodying the act of looking forward.

I am writing my self-portrait.



55

Unaffordable space is free to be used as a scene for communion.

There you see O, my outward projection, the visible spirit.



56

Here we are together. Don’t mention it.

I am pointing towards an imaginative space.



57

Home, home away from home is open, a place of freedom.

Stop tracking with thought.



58

The place is irrelevant yet necessary.

Poetry elevates to romance. At the centre is O.



59

We are following their dreams.

I am writing my self-portrait.



60

Do I presently dream in anticipation or in mourning?

I renew my intentions in either place in sympathy with theirs.



61

I will see you somewhere plausible.

I don’t want to feel that I’m really there.



62

I set myself up for the scene.

I set up the scene for company.

Our interactions are respectful.

Our interactions are never respectable.



63

Do I presently dream in anticipation or in mourning?

I don’t want to feel that I’m really there.



64

I am presently engaged in the work of embodying the act of looking forward.

It might happen here, a kind of fiction.



65

Wherever we are, we are spilling out or we are in retreat.

We are following their dreams.



66

Home, home away from home is open, a place of freedom.

I am writing my self-portrait.



67

Here we are together. Don’t mention it.

In the same place at the same time we present our alignment. It’s political.



68

I see you somewhere plausible.

Stop tracking with thought.



69

I am respectful, not respectable.

O is my outward projection, the visible spirit.



70

I set myself up for the scene. Or I set up the scene for company.

The place is irrelevant yet necessary.



71

I am pointing towards an imaginative space.

I renew my intentions there in sympathy with theirs.



72

This enters a social space but there is a limit. This helps to define the limit.

Here.

Poetry elevates to romance. At the centre is O.



73

Do I presently dream in anticipation or in mourning?

I am tracking with thought. I will stop



74

I set myself up for the scene. Or I set up the scene for company.

Unaffordable space is free to be used.



75

I see you somewhere plausible.

We are following their dreams.



76

Here we are together. Don’t mention it.

I am writing my self-portrait.



77

This enters a social space but there is a limit.

It happens here, a kind of fiction.

This helps to define the limit and helps to set the tone.



78

I will see you somewhere plausible.

The place is irrelevant yet necessary.


79

Home, home away from home is open, a place of freedom.

Our interactions are respectful.

Our interactions are never respectable.



80

I am presently engaged in the work of embodying the act of looking forward.

Wherever that may be, we are spilling out or we are in retreat.



81

I am pointing towards an imaginative space.

In the same place at the same time we align. It’s political.



82

Poetry elevates to romance. At the centre is O.

O is my outward projection, the visible spirit.



83

Do I presently dream in anticipation or in mourning?

Unaffordable space was free then to be used as a scene for communion.

It is still.



84

Here we are together.

We renew our intentions in sympathy with one another.

Don’t mention it.



85

Stop tracking with thought.

I am writing my self-portrait.



86

We are presently engaged in the work of embodying the act of looking forward.

Our intentions are respectful.

Our intentions are never respectable.



87

Home, home away from home is open, a place of freedom.

There we align at the same time. It’s political.



88

I will see you somewhere plausible.

Wherever it is, we are spilling out or we are in retreat.



89

I set myself up for the scene. Or I set up the scene for company.

Poetry elevates to romance. At the centre is O.



90

I don’t want to feel that I’m really there.

O is my outward projection, the visible spirit.



91

I am pointing towards an imaginative space.

The place is irrelevant yet necessary.



92

This enters a social space but there is a limit. This helps to define the limit and helps to set the tone.

We are following their dreams.



93

Do I presently dream in anticipation or in mourning?

I am writing my self-portrait.



94

Here we are together.

Wherever we are, we are spilling out or we are in retreat.

Don’t mention it.



95

I am pointing towards an imaginative space.

I stop tracking with thought.



96

This enters a social space but there is a limit. This helps to define the limit and helps to set the tone. 

Our interactions are respectful.

Our interactions are never respectable.



97

Home, home away from home is open, a place of freedom.

I don’t want to feel that I’m really there.



98

Unaffordable space is free to be used as a scene for communion.

We renew our intentions there in sympathy with one another.



99

I am presently engaged in the work of embodying the act of looking forward.

Poetry elevates to romance. At the centre is O.



100

In the same place at the same time we present our alignment. It’s political.

O is my outward projection, the visible spirit.



101

It will or it might happen here, a kind of fiction.

The place is irrelevant yet necessary.



102

I set myself up for the scene. Or I set up the scene for company.

I am following their dreams.



103

O is my outward projection, the visible spirit.

I am writing my self-portrait.



104

The place is irrelevant yet necessary.

We are following their dreams.



105

I am pointing towards an imaginative space.

Wherever that may be, we are spilling out or we are in retreat.



106

Here we are together.

Our interactions are respectful, never respectable.

Don’t mention it.



107

I am presently engaged in the work of embodying the act of looking forward.

I am tracking with thought. I will stop



108

Unaffordable space is free to be used as a scene for communion.

There we align at the same time. It’s political.



109

Home, home away from home is open, a place of freedom.

Poetry elevates to romance. At the centre is O.



110

I set myself up for the scene. Or I set up the scene for company.

I don’t want to feel that I’m really there.



111

It happens here, a kind of fiction.

We are renewing our intentions in this place in sympathy with one another.



112

Do I presently dream in anticipation or in mourning or do I not?

This enters a social space but there is a limit. This helps to define the limit and helps to set the tone.



113

O is my outward projection, the visible spirit.

The place is irrelevant yet necessary.



114

I am pointing towards an imaginative space.

I don’t want to feel that I’m really there.



115

I am presently engaged in the work of embodying the act of looking forward.

I am following their dreams.



116

Home, home away from home is open, a place of freedom.

There we renew our intentions in sympathy with one another.



117

Unaffordable space is free to be used as a scene for communion.

I am tracking with thought. I will stop



118

Do I presently dream in anticipation or in mourning?

We are there together. We don’t mention it.



119

This enters a social space but there is a limit. This helps to define the limit and helps to set the tone.

Wherever that is, we are spilling out or we are in retreat.



120

It will or it might happen here, a kind of fiction.

In the same place at the same time we align. It’s political.



121

Do I presently dream in anticipation or in mourning?

Anticipation.

I set myself up for the scene.



122

I will see you somewhere plausible.

I am pointing towards a potential.



123

Unaffordable space is free to be used as a scene for communion.

Wherever it is, we are spilling out or we are in retreat.



124

O is my outward projection, the visible spirit.

O is following their dreams.



125

I set myself up for the scene.

I set up the scene for company.

I am tracking with thought. I will stop



126

It will or it might happen here, a kind of fiction.

I don’t want to feel that I’m really here.



127

Do I presently dream in anticipation or in mourning?

Home, home away from home is open, a place of freedom.



128

We are presently engaged in the work of embodying the act of looking forward.

In the same place at the same time we present our alignment. It’s political.



129

The place is irrelevant yet necessary.

There we renew our intentions in sympathy with one another.



130

This enters a social space but there is a limit. This helps to define the limit and helps to set the tone.

Don’t mention it.



131

Our interactions are respectful, never respectable.

Poetry elevates to romance. At the centre is O.



132

I am pointing towards an imaginative space.

I am writing my self-portrait.



133

Unaffordable space is free to be used as a scene for communion.

I don’t want to feel that I’m really there.



134

Home, home away from home is open, a place of freedom.

We are following their dreams.



135

This enters a social space but there is a limit. This helps to define the limit and helps to set the tone.

Stop tracking with thought.



136

It will or it might happen here, a kind of fiction.

Wherever, we are spilling out or we are in retreat.



137

Do I presently dream in anticipation or in mourning?

I am presently engaged in the work of embodying the act of looking forward.



138

I renew my intentions in this place in sympathy with theirs.

O is my outward projection, the visible spirit.



139

The place is irrelevant yet necessary.

There we align at the same time. It’s political.



140

I set up the scene for company. Here we are together.

Don’t mention it.



141

Unaffordable space is free to be used as a scene for communion.

Our interactions are respectful, never respectable.



142

I am pointing towards an imaginative space.

I am following their dreams.



143

I will see you somewhere plausible.

There we align at the same time. It’s political.



144

Here we are together.

Don’t mention it.

Poetry elevates to romance. At the centre is O.



145

I set myself up for the scene.

I set up the scene for company.

Wherever that may be, we are spilling out or we are in retreat.



146

It will or it might happen here, a kind of fiction.

I am tracking with thought. I will stop



147

Do I presently dream in anticipation or in mourning?

O is my outward projection, the visible spirit.



148

We are presently engaged in the work of embodying the act of looking forward.

We are renewing our intentions in this place in sympathy with one another.



149

The place is irrelevant yet necessary.

I don’t want to feel that I’m really there.



150

Home, home away from home is open, a place of freedom.

This enters a social space but there is a limit. This helps to define the limit and helps to set the tone.



151

I see you somewhere plausible.

Poetry elevates to romance. At the centre is O.



152

Do I presently dream in anticipation or in mourning?

I am pointing towards an imaginative space.



153

Unaffordable space is free to be used as a scene for communion.

The place is irrelevant yet necessary.



154

We are following their dreams.

We are respectful, not respectable.



155

Here we are together. It happens here, a kind of fiction.

Don’t mention it.



156

In the same place at the same time we align. It’s political.

Wherever it is, we are spilling out or we are in retreat.



157

Home, I set up the scene for company.

Home away from home, I set myself up.

It’s open, a place of freedom.



158

This enters a social space but there is a limit. This helps to define the limit and helps to set the tone.

I don’t want to feel that I’m really there.



159

I am renewing my intentions in this place in sympathy with theirs.

Stop tracking with thought.



160

I am presently engaged in the work of embodying the act of looking forward.

O is my outward projection, the visible spirit.



161

I am writing my self-portrait.

Poetry elevates to romance. At the centre is O.



162

It will or it might happen here, a kind of fiction.

We are following their dreams.



163

I will see you somewhere plausible.

Unaffordable space is free to be used.



164

Do I presently dream in anticipation or in mourning?

I am respectful, not respectable.



165

Home, home away from home is open, a place of freedom.

The place is irrelevant yet necessary.



166

We renew our intentions in sympathy with one another.

Wherever we are, we are spilling out or we are in retreat.



167

Here we are together. We are presently engaged in the work of embodying the act of looking forward.

Don’t mention it.



168

I set myself up for the scene. Or I set up the scene for company.

There we align at the same time. It’s political.



169

I don’t want to feel that I’m really here.

Stop tracking with thought.



170

This enters a social space but there is a limit. This helps to define the limit and helps to set the tone.

This is O, my outward projection, the visible spirit.



171

I am pointing towards an imaginative space.

Our interactions there are respectful, never respectable.



172

Unaffordable space is free to be used as a scene for communion.

Poetry elevates to romance. At the centre is O.



173

I will see you somewhere plausible.

It will or it might happen here, a kind of fiction.



174

Here we are together. We are following their dreams.

Don’t mention it.



175

Do I presently dream in anticipation or in mourning?

The place is irrelevant yet necessary.



176

I don’t want to feel that I’m really there.

Wherever it is, we are spilling out or we are in retreat.



177

We are presently engaged in the work of embodying the act of looking forward.

Home, home away from home is open, a place of freedom.



178

This enters a social space but there is a limit. This helps to define the limit and helps to set the tone.

We renew our intentions in sympathy with one another.



179

In the same place at the same time we present our alignment. It’s political. Stop tracking with thought.



180

I set myself up for the scene.

O is my outward projection, the visible spirit.



181

I see you somewhere plausible. 

I am writing my self-portrait.



182

Do I presently dream in anticipation or in mourning?

It will or it might happen here, a kind of fiction.



183

I am pointing towards an imaginative space that may be realised in an unaffordable space.

This space is free to be used as a scene for communion.



184

We are following their dreams.

Poetry elevates to romance. At the centre is O.



185

I stop tracking with thought.

O is my outward projection, the visible spirit.



186

The place is irrelevant yet necessary.

Wherever we are, we are spilling out or we are in retreat.



187

Home, home away from home is open, a place of freedom.

Don’t mention it.



188

I set myself up for the scene. Or I set up the scene for company.

I will renew my intentions there in sympathy with theirs.



189

In the same place at the same time we present our alignment. It’s political. I don’t want to feel that I’m really there.



190

We are presently engaged in the work of embodying the act of looking forward.

This enters a social space but there is a limit.

This helps to define the limit and helps to set the tone.



191

I see you somewhere plausible.

Our interactions are respectful, never respectable.



192

Unaffordable space is free to be used as a scene for communion.

We are following their dreams.



193

I am pointing towards a freedom.

It will or it might happen here, a kind of fiction.



194

Do I presently dream in anticipation or in mourning?

Poetry elevates to romance. At the centre is O.



195

Home, home away from home is open, a place of freedom.

Wherever it is, we are spilling out or we are in retreat.



196

The place is irrelevant yet necessary. I stop tracking with thought.



197

Here we are together.

O is my outward projection, the visible spirit.

Don’t mention it.



198

This enters a social space but there is a limit. This helps to define the limit and helps to set the tone.

There we align at the same time. It’s political.



199

I am renewing my intentions in this place in sympathy with theirs.

I don’t want to feel that I’m really here.



200

I am presently engaged in the work of embodying the act of looking forward.

I set myself up for the scene. Or I set up the scene for company.



201

Our interactions are respectful, never respectable.

I am writing my self-portrait.



202

I am pointing towards an imaginative space.

Poetry elevates to romance. At the centre is O.



203

Unaffordable space is free to be used as a scene for communion.

It will or it might happen there, a kind of fiction.



204

Do I presently dream in anticipation or in mourning?

Either way I am following their dreams.



205

Here we are together. The place is irrelevant yet necessary. Don’t mention it.



206

Wherever we are, we are spilling out or we are in retreat.

Stop tracking with thought.



207

Home, home away from home is open, a place of freedom.

O is my outward projection, the visible spirit.



208

I am presently engaged in the work of embodying the act of looking forward.

I don’t want to feel that I’m really there.



209

In the same place at the same time we present our alignment. We renew our intentions in sympathy with one another.

It’s political.



210

I set myself up for the scene. Or I set up the scene for company.

This enters a social space but there is a limit. This helps to define the limit and helps to set the tone.