PREFACE

The sensual chaos is here for you.
Take a look around yourself and you will quickly find yourself surrounded by all forms of sensual impressions. Visual communication and broadcasting have nowadays reached a new peak. Sounds and visons are appearing at the strangest places. Like you can find here in Vienna such a curious thing like an "Opera Toilet", where you can piss, while listening to Strauß. Everything sensual can also be sexual as it is loaded with any erotic idea. Like you know "sex sells". Being sensual, being sexual is a beautiful thing.
The more it is, when both happenings are linked by vital emotions, that are well recognised and not only going under in a sensual or a sexual apocalypse, that makes us randomly consume and keep us from discerning.
Enjoy what you see softly and intensely too, so that you might even more experience its emotional and very sensitive aura. Something that we are perhaps often missing within our ways of perception.
My book of "This Sensual Chaos" is full of images, that are trying to pace off these different boundaries of sense, sex, feeling and our approach to it.
Since I found and made so many various shots I am glad to say yet, that there will be a subsequient edition, called "The Lipstick Revolution" and something very special coming up to you within the review of "CIR - I, Mystory" all together are packed full with some more exciting, flamboyant and also ruminent pictures.
Well, then have a good time with approx. 250 pictures of ...


... THIS SENSUAL CHAOS.


INTRODUCTION

How many senses have we got?
This is quite an outstanding question, which is not so easy to be defined.
Of course we all are hopefully able to see, to hear, to grope, to taste and to smell.
But what when it comes to balance one´s own body through space and room?
Did you know that your kinaesthetic sense, which is located also in your ears
is a sense of its very own definition?
Without it you simply could not move tidily, for you would not have a correct interpretion of the
things that constantly surround you, while you are walking or by just standing still you couldn´t locate yourself.
Without it you would not be able to dance.
Since you could not figure out the relation of your body parts to one another to coordinate them well.
So most of us have six senses at minimum.
But what is this commonly used literal description of a magic "six-sense" all about?
What does it mean in the end?

Certainly we all know what is normally meant with it, by speaking such a phrase out to provoke and to give words to our yet unknown possiblities and excellences, that we might never explore.
Once you had a deja-vu in your life you know something about your unidentified sensual impressions.
Just think of your dreams and maybe other visual perceptions that you had, while your eyes were definitely closed.
How did you seize that?
And didn´t it make some sense to you anyway?

Senses can be stimulated, undereducated or overexposed.
They can be tricked or elaborated to become measures of truth and even spiritual knowledge.
We all have got them to be in this world full time.
We are put into a sensual landscape to live our very own lives.
Each one of us uses his senses to explore the physical, the emotional and the mental environment around his person, to communicate with it, to be out there for fulfillment and also to listen to the personal inside to find self-awareness.
For more our circumstances are constantly changing and influencing one another on different sorts of levels, what can be exciting and inspiring, overwhelming and swamping.
We all know good days from bad ones and we all have got to know our senses then.
Aswell we are able to use them to guide us through difficult episodes of our lifetimes.
To hold on and to be strong or to be courageous needs often especially courageous, strong and patient education and association with one´s very own senses and with the information that comes from them.
Didn´t somebody say that we are living in the information age?
And we do so day by day, hour by hour, minute by minute, second by second.
We are permanently on the edge of information, because we are set out to wrestle with enduring streams of sensual input.
I see, we are coming closer to the core of this book.
For once more let me ask you about your very personal experiences, that you had with all of your senses.
Well, how often do you think that your senses are coming together to prove the correctness of a situation?

Try to concentrate on a single sensual perception and then look how intense you are nevertheless involving all of the other senses to support the image, that you are building up.
What do you find?
Maybe that the total impression of it all is emerging invisibly, inaudible and untouchable deep somewhere in your brain?

Your mind and its physical equivalent are mixing and putting it all together.
Your head is a sense-making institution.
All of your ideas and wishes and desires and plans for the future are completed on a sensual basis to become intellectual and emotional inventions, that are then going into your life again
to be the basic parts of your life at all as they become actions.
It seems like we live to sense to live.
We are working ourselves through all the information that we get or that we need or that we are exposed to perceive to form something out of it, to mold our personal existence, to be creative.

This way of sensible handling can be very succesfull, it can be hard or difficult and it can also be disturbed or totally interrupted.
When people are of whatever reason disabled they are really working very hard to achieve their status of lively quality, which makes them feel good and that makes some profound sense to them. They reach their control over chaos often by going very unusual ways and developing extraordinary ways of behaviour, what they often do by putting aside their social
skills to get their priorities of surviving set and done.
Infact disability is a very widepread term. Often it is naturally very obvious, but the more often it stays a condition, that is confirmed by expectations and fantasies about expectations, so that the information assimilating process stops infront of the social aspect and the remaining problems of dealing with the whole plot are kept secret and privately hidden.
Nevertheless the senses are longing for meaning and we are bound to make the best out of what we have got.
I think that demonstrations of violence and agony are - nowadays - frequently happening to bridle and to relieve our status quo.
Each one of us has to cope with his very own character, talents and virtues, what is including the power of the senses too, which can be totally different from the things that others can.

I guess, that referring to all of the already said, we have never been before challenged so exceedingly as we are confronted now with a situation to redefine and also to find ourselves once again while facing a sensual chaos.
Ongoing computerisation and a worldwide flow of goods and of words have put us on a new ground. Zivilisation and culture are forced to improve their methods and their standards to give us a good lift into the Twenty-First Century.
We are out now in an upside-down changed world to spread our senses for more knowledge and wisdom, than we have ever thought to be possible and necessary.
Parallel to that for some humans old hats suddenly turn out to be shiny new stopgaps for more than only one complex question.

Radical cataclysms have always made the people very insecure and suborned them to be too quick with answers to just fix something that was on the other hand meant to be revived again.
It is not such an easy thing to look out for something, that does really make some sense, when all of your senses are filled and buried with information.
What am I? Who am I? What is important to me? Who do I want to be?
Questions that are coming up one´s own mind surely not without a cause.
These thoughts can make us feel even more insecure, but they are useful to clear up a vague input. In the beginning, when I made photos as a teenager they sometimes became strange, because of the intensity of the light, or they were full of colored stripes, because of some hasty, or unpredictable movement, that occurred for some reason.

Later I discovered this happenings to be a vital part of my shootings and my vison of photographic art. I let them happen and often I provoked them as I supported the light and the constant rotation of this world to show themselves and to feel invited.
Especially the pictures, that I did in Polland around 1991 were my first totally letting just go of a sense, that was simply there and to free my spirit from the idea of fixing something, that is moving and wanting to be a creative partner during the process of shooting and therewith fixing itself on a filmic or later a digital medium.






Nevertheless the complete standstill - the accurate pose - can be a very important part of photography and I mostly let my models - and myself - swing to and fro free movement and - inner - commands of freezing.
Natural occurring phenomenas and completely artificially intended arrangements are coming together and they fit each other.
Even when they are antithetic or in a purely aesthetic or any other substantial quarrel they are just telling me that something´s yet missing. So the perfect picture can be a snap-shot of a fleeting moment of natural and artistic harmony, caught by an alerted photographer, or a single frame taken out of an abundance of pics.
You see, that for me the creative process is always a joining in of the senses to give room to
some form of meaning. This can be an erotic, an intellectual, an emotional, an aesthetic, a political or a religious one or all together reflected within a certain photograhic view, materialised in a picture. At that point you should not be astonished, that also nihilistic or atheistic moods are giving sense to me and my work.
You will see some pictures, which can give you quite an impression of that.
A picture can be full of people or vacant, deserted, cut off.
It can be a sole place for the light of the sun or its reflections and it can be filled up with a hard dick.

A picture can emerge out of the simple togetherness or connection of things, bodies and lights and trigger by that a flood of feelings deep in the psychological world of the beholder.
It can be taken out of a film, as a representative or something that gives another sense to the whole statement and it can be made to just tell you anything you want to hear.
As the senses mix, while taking pictures, other inspirations, like sounds or smells, memories or thinking processes dealing with all of that sensual chaos can be a great source of creative genius. In that sense I hope, that my shots are full of connotations, which are revealing their individual magic and fascination to you on many different and sparkling levels.

Now we are slowly coming around again the point from that on we started this trip.
Finally I want to thank all of those folks, who have been working together with me so that I am now able to present this book to you and to them aswell.
For I have been getting with kind permission lots of photos from their side, especially the ones, which we have been making together, or that are showing evidentially myself.
Thanks for taking picures with me and of course of me!
I also compiled some shots, that have totally been made by others, but which are showing some people of great importance to me and to the sensual chaos of this book, so that I was looking forward to get the allowance of the once, who did them, which I then also got.
Thanks also to you!
In all cases I have been trying direfully to restore the pictures not only technically, but also
according to their history of origins, which is often brilliant or funny, but also touching, dramatic or breathtaking.
Have some good inspiration and further impressions out of them for your journey through the sensual chaos of this world!
CIR

Time specification is made as I remembered the exact dates or inasmuch I was able to research them throughout the recent years. The names of the performers are listed in terms of their former or actual stage or nick name, as it has not been otherwise untacked.
The pictures are numbered and added to a table of content.
The copyright of this product and its parts is specified as being under authority of CIR.
Co-authors are mentioned, but free to use these pictures for their own purposes and commercial interests as concertedly discussed.