Fabric Workshop and Museum

Temp Stop, as the title implies, has a disjunctive quality that separates it from the other parts of Re'Search Wait'S. As if emanating from the basement of Any Ever, each scene plays like a hidden-away epilogue rendering characters comparatively surreal--in part because they are often straightforward and ordinary. The movie opens with a less omnipotent Y-Ready barking an abusive monologue to hypothetical subservients and bidding Able to use The Re'Search to brainwash JJ into a duplicate of Wait. Able's work alter ego, Past Jessica, is battered by her office. She is out of time, and by that extension, timelessness in Any Ever is not equated with limitlessness but with total lack: no time.

In P.opular S.ky (section ish), a character played by Trecartin informs us that she wants ‘to live in a world where narration is the devil’. The ability to script oneself is an inalienable right, and anything that opposes that right must be rejected.

The video revolves around an unending "meeting" - a busy, aimless meeting that goes in circles to evade a traditional narrative arc. The meeting is essentially a party, and the entire company bumps and grinds with itself everywhere from in boardrooms to airplanes. K-Corea INC. K processes ideas of automation and containment, embodied by these hyper-controlled locations and by the seemingly looping actions that take place in them. Meetings, where discrete parts of a corporate body come together to attempt to "get on the same page," display the futility of corporate unity, and of individual purpose or voice remaining intact within a corporate culture.

The movie is actual market research collected by Wait for Y-Ready. It doubles as the site of Wait's vacation, as well as echoed versions of scenarios from other sections of Any Ever from which characters either reappear or are replicated here as young girls. Separately, it is a production commissioned for Voy, a pigtailed pseudo-Olsen Twin, by her prop lesbian parents. Voy moves in and out of the action, blurring the boundaries of what is inside and outside reality and fiction. There is also the spectacle of beautiful, tortured Sammy B, who promises suicide every day, broadcast online from her pink bedroom. Although her fans watch her to hate her, what they love is to see her feel, and no one will join the audience that would allow her to permanently drop out.

Trecartin returns to his conception of family-as-business-enterprise, casting parent figures as managers and executives on one end of the spectrum, estranged children as freelancers on the other. The director plays four sisters named Ceader, Britt, Adobe and Deno, the boundaries of whom are indistinct. It is difficult to tell where one sister ends and the next begins. The sisters' questing—for identity, for romance, etc.—leads them on an episodic series of adventures, several of which are defined as "premises." A Trecartin premise plays out as a predetermined situation where the character initiating it has already set the tone, terms, and trajectory of the experience in their mind. The actual, lived event serves only as the shading-in of the outline.

Roamie View: History Enhancement reveals JJ as a husk of his former self, overwhelmed by too many experimental personalities and reverted to factory presets. He hires Roamie Hood's (Alison Powell) company to roam backwards through time to research an opportunity for an edit that could alter his future-present.