O60_LIVINGSPACE
Timestamp: April 13th, 2026 11.11. a.m.
POST FROM ELSEWHERE.
Chapter Nine, 1 Voice
Interior Concept. Forgotten Windows.
The remontant Fury as Interior Concept
Recognizing the extraordinary, appreciating the imperfect. Creating authentic spaces and coherent design concepts in which colors, materials and function harmonize with each other. Style mix. Breaking old patterns.
The origin and history of the materials show the way.
Vintage furniture, the collection of stories, of old objects. The forgotten design icons. Eclecticism, Japanese traditions, French and Italian designers.
Tracing object biographies to find the last piece of the puzzle for a design.
-Jessika S.
It has been pointed out to me that my documentation text is difficult to read, so I have decided to copy parts of it directly into this post.
DAY 3
Queering the Map.
Searching for the forgotten, the lost.
Searching for the blank spots,
searching for the place’s patina.
Searching for its Ecclectic. Searching for its history. Decoding - re-coding.
The secret architecture.
The opaque. The sensory sanctuaries.
Create is to deconstruct.
The value of the ruins. Archaeological Architecture.
The entrails of the House.
The Intersectional Spolia.
Spolia - using old Building parts to make something new- I would go for different rather then new.
Searching for Tanizakis shadows.
The master`s tools will never dismantle the master`s house. The master`s tools will never dismantle the master`s house. The master`s tools will never dismantle the master`s house.
-Audre Lorde.
& I need squares. For my clearity.
Conduct No.15 of Elsewhere:
I adapt the space to fit me.
At the end of the day, there was just building objects.
The opacite´ was more inside.
let see what tomorrow brings.
I find this a very challenging chapter.
DAY 5
I see much of what is described in the response to the rF Interior Concept reflected in Elsewhere.
The mix of styles, the collection of stories behind old objects, the eclecticism, and, of course, the Japanese traditions, are evident in the tea house and the wabi-sabi gaze in Chapter Seven: Vision. The appreciation of imperfection.
What has emerged most strongly from the response this week is the breaking away of old patterns. And not as an interior concept but as my mental and emotional inner interior design. In the ninth week of my autoethnographic research in the form of play, my old patterns have been broken down and broken apart.
I thought I could free myself from the old system by 1. recognising the old, 2. seeing through the system, 3. thereby stripping it of its self-evidence, 4. bringing in my own perspective, and 5. placing it within the old spatial framework, thereby shifting power. I was wrong.
To be in Elsewhere is like researching a tribe in which outside contact is strongly counterproductive, because if the formulas of previous ways of behaving, of how to stand in life and deal with life, are not completely unlearned, understanding – and I also mean embodied understanding here – is not possible. The tribe Elsewhere lives through the lens of a specific aesthetic. The remontantFury aesthetic. Everything is built on it; everything is permeated by it, just as in Not-Elsewhere, everything is permeated by the patriarchal aesthetic, and everything builds on it. Capitalism, colonialism, right-wing ideology, glass buildings, etc. The patriarchal aesthetic is the aesthetic of oppression. Something that is physically stronger suppresses something that has the potential to grow life within and bring it into the world. Something that is physically stronger suppresses something that carries the potential of nourishment - literally food within itself and is anchored in its own structure. At the heart of patriarchal aesthetics lies always the effort against something, never for something.
Likewise, it is the effort expended in the pressure to still stand out as especially strong out of the pool of strength. To be the biggest, the strongest, the fastest, aka the most forceful. Standing in the history books across one’s own lifetime.
With that, I, like every other person around me, have grown up. The patriarchal aesthetic is the lens through which I look at the world.
Even if I question it, I look with the questioning gaze of the patriarchal aesthetic in the style of the patriarchal aesthetic.
Elsewhere and especially the rF aesthetic, the remontantFury aesthetic, cannot be understood from the perspective of the patriarchal aesthetic, let alone embody it.
The rF aesthetic is a revolution for life (huge props to Eva von Redecker ). To get there, it is important to refrain from any conversations, whether by phone or in actual encounter, for a while. Because as soon as I meet a person who, like me, comes from Not-Elsewhere, we automatically speak Not-Elsewhere language and meet each other as Not-Elsewhere persons. And it is impossible for me to shake off the encounter afterwards and switch back into Elsewhere mode. Elsewhere mode, which I have not yet really managed to grasp. Here a glimmer, there a shining through, but no real understanding, let alone letting it move into the body.
Everything is allowed except leaving the resistance, which is the only real rule in Elsewhere. This week, I gave up any resistance and tried, depending, to be a good friend, a good mother, a good partner, a good researcher, and a good empathetic person who manages to set boundaries, or sometimes doesn’t. All of that out of the internalised patriarchal aesthetic of oppression. You can do that! - suppression of the feeling of not being able and not wanting to respond to others, because they disturb the flow, the building of connection to Elsewhere.
Asking and Listening and in doing so suppressing the pain of “too much”. Most words, most sentences, most stories that are carried to me from Not-Elsewhere come from the desperation of not being able to escape the patriarchal aesthetic. This desperation crawls into my currently unlearning and very sensitive, raw body and leaves bites and pain as well as an echo that threatens to devour me.
Regarding my personal interior design, I cannot trace the origins or history of the materials, since, as a non-binary person, there is little history and none at all regarding Elsewhere.
Now I turn to the forgotten. To the opacity of Glissant and the praise of the shadows of Tanizaki. I remember the thick walls of the man caves, into which I drilled holes to build my non-binary shelter inside. True deconstruction, for me, also means laying down the role of rebelling.
Now I remember to leave these walls so I can really listen to the ancient of the place. ( Chapter 8 Voice Performed Ecology)
The master’s tools will never dismantle the master’s house. Take the master’s house, withdraw the light from it, and fill it with forliving.
The marking of the inner hut as restorational squatting with and through rF. Inscribed in: I am here.
Contact with the outside world is now paused, except for a very small team (the reflectors of Elsewhere), until the next glitch opens,
most likely on 07/02/2027 at 11:10 and 59 seconds.
Until then, it is field research, rF aesthetic, Elsewhere and Elsewhere without leaving resistance.
With Love,
Stevie rF
