Out for a walk and it all becomes clear. The video serves as a document of the space and the movements within it. Its not the piece itself, so don't get confused. Documenting the objects being spatially composed within a space is fodder for a score: score it, the movements of the objects or of the camera in documenting them, the transversal of the space physical or through diffusion of attention or POV. Extreme close up detail of the knee - taking out time to focus upon small details. The music can become ambivalent lubrication to the video editing as the primary process: the visual technique can grind and homogenize the text/sound content according to its own logic. Editing is a process of removal = put it in relation to an additive compositional method. Remember: negative theology - describing by lack, silence, absence: a method of inverse/parallax collage. The libretto should be autonomous: remember ___'s book, consisting of conversations transcribed and collated by topic into chapter headings between characters not completely present. Conversations triggered by what he wants to discuss, manipulated by influence. Will Bent! The writing happens through violence, destruction, the taking away from life which is constantly accumulating itself, suffocating. The oration comes from me, or others. From this text as instructions, fill out the other contents: spatialize the directions, illustrate diagrams of faces and places, schematics of orientations and relations, applications for installation as a quasi-performance or installation upon or within various spatial contexts, speaker positions, object fabrication for use as props, arrangement techniques, descriptions of various performer characteristics (physical and psychical), a production of scores for musical and theatrical performers to follow, notations for multiple composers charged with overseeing overlapping territories of attention - composed conduction = conduxion. Outside individuals are needed to serve as speakers, actors, performers, etc., but everything will be embodied and enacted by me from the beginning until a budget can be procured. SUBTITLES of all text, to begin with, to serve as an immediate doubling of the text.

Ultimately I want to exhibit this work: instrument specific notations, but not aligned to each other: a test of individual players functioning autonomously, in an ensemble but without a unified piece of music. The shift is towards the radicality of presence more than execution of perfection. The same idea can be applied towards the recitative, camera work, construction of a stage, etc. The opera consists of a series of strict reference to spaces, time, and embodiments of self evoked through the documenting of existence-in-writing, but is not dependent upon such spatio-temporal coordinations for the presentation of the performance - either live or through streaming video, it will bend into the frame of the viewer seamlessly with their own consumption of reality.