The subject matter is the self, my self, selving. I am the writer, character, content, and context. My self is always in relation, always relating, and it is the networked web of relations which comprises the theatrics of the display. There is a space between which I am striving to articulate. Between the two absolutes [Jungian oppositions, the archetypal male female, the father/mother, north/south, etc] lies an intermediate path. The power of this position/perspective is to embody both absolutes simultaneously as a non-absolute, a grisaille gradient. The fear is that this intermediary status will inhibit any idea from manifesting completely, purely, as "far" as it may hold the potential to be.

Conversations needs to be recorded and documented. There is so much subject matter in the world: the opera should be conducted through conversations. The problem: how to conduct natural exchange without the perceived presence of the recorder, to make the speakers forget that it is present or to obscure its presence. Is this stealing? What could it give back?

Comb over a thorough re-reading of massumi. Cross-correlate to Zizek, Barthes, Derrida, Jung, Delanda, Baudrillard. Find new books to read. Remember to remember: Miller, McKenna, R.A.Wilson, Joyce, Pound! Chart it out visually: create a meta-diagram of intellectual influences in order to identify the gaps that need to be explored further. This is where the notebooks come in. Take all the current knowledge (all the "knowns") and lay them out visually upon the conference table. Create another conversational cosmos with those that are known: real conversations with real people. This was once a failed experiment that could be reinvigorated, but remember transparency: doesn't need to be contextualized as a project, should occur first as "casual" conversation that is thoroughly documented. ***the opera will write itself as long as I am paying attention*** These daily practices must be recorded, not for longevity (for anyone else's eyes or ears) but for my own sake! This is the work, this daily writing and conversing. The exchange, either with myself or others, is the goal in itself.

*Remember the ideas and notes from Seydisfjördur: The ruminations of the opera ontogenesis. The experience of forming the prologue in all its successes and failures.

The difference between thinking all these ideas and speaking about them. The dynamic of the Danes while building the house: politics and food, breakdown of personal spaces, sports and roleplaying, the unspoken agreement towards a collective construction. The importance of working through ideas with ___, with the mountain, to the waterfall. The impossibility of explaining the severity of the contained ideas to those that are overly enraptured within their own worlds, ie: artists. Artists are not the intended audience (!), but then who is? No intention, just ventilation (for now).

Write up residency applications for US National Park locations to explore a sense of place, cultural heritage, indigenous architectures. Write choreographies and conduct conversations with relevant friends to enact them. Write music with electric guitar via Ableton for multi instrumentalist performers.