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The Three Crowns System, by F. Akuva.



He was developing it for too long… longing furiously for its stratification. The three Crowns rotate like Borromean knots: if one is released, they all get loose, and fall into an infinitesimal abyss. That notion of infinitesimal abyss was assimilated to a conception of the cinematic shot as mise en abyme: to use the camera as a Perceptron.


The machine-shot.

The vegetal-shot.

The ectoplasm-shot.


A. The machine-shot.

Utilitarian-regulatory function. Space’s doppelgänger and body’s doppelgänger. Abdominal region. The false Story.


B. The vegetal-shot

The Drive, the sensorium. Real spaces. Cranial region. The true Story.


C. The ectoplasm-shot

The immaculate bodies. Genital region. Hypostasis.





In that suspension, the three Crowns dominate the narrative of the End. Franz Akuva affirmed with it, the tissue of a material annihilation tendency, which for centuries was deviously clothed with a hopeful rhetoric while in the background, once the bandages were removed to observe the burns and penetrate the meat with our scalpels always in search of a harmonic universe that was hidden behind the dissonances of our patient’s screams -after the staging of unbearable pain- only death was found. But the narrative did not stop there. There was still something ethically tolerable: to accelerate the Collision by all possible means.

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