--- W A X W E B --- { 03:30 / 1:25:00 } --- { Plant Life : Undergrowth } ---

Plant Life : Undergrowth

Hive-Maker wrote that he imagined this to be a place of dense vegetation, where the souls of the dead lived in the form of small floating lights.

	A single leaf, folded, can carry the image of a forest at night. We've fallen into one of these leaves. As we decelerate past the broken ranks of vegetables and pinecones, past the palms and their hidden reptiles, the monkeys clutching dolls, the trees that were once telephone poles and now are decorated with teeth marks and plastic leaves, we only see that everything is starting to tilt. The ground isn't where we expected it to be. Night is longer by a few hours here, inches are feet, and everything grows too fast, adapts too well, so that even the clever intruder stands little chance. By the time we hit ground, we will be part of the forest, covered with leaves like the people in Ovid, our teeth made of bad wood. Any pictures taken from now on will be contaminated with dust, dark, and bee mites, rendering them useless as visible artifacts.

03:30

Hive-Maker and Ghosts:

Through the lens of a projector, we enter a film.

The year is 1914, and James Hive-Maker, a Spiritualist Cinematographer, has traveled to the Antarctic in order to gather images of the dead. The next year, he travels to the Battle of Ypres, where he finds them floating above clouds of poison gas.

Hive-Maker search is motivated by a belief that the Dead live near to us, illuminated by a moral decay similar to the glow of a radium watch. This light, and their Land, can be made photographically visible. By extension, Hive-Maker hypothesizes that these living lights can visit our world (and that in reverse, we can visit their world).