This morning I'm thinking about how to film portraits of my parents. I don't think that the filming will be nearly as important as the audio - the emphasis being on the conversation, to have the encounter be real and sincere, not staged, an actual conversation between me and my parents. There are specific questions I want to ask concerning perspectives, articulations of being or becoming themselves, their description of their own worldview and their understanding of my own - as a beginning of a conversation, to have my own being articulated through their voices. Video should be captured discretely, if at all. The questions need to be written, not explicitly about me only implicitly - this is not a documentary about myself - to ask questions relevant to the person I am speaking to and our shared relationship first and foremost. Key points for the colloquial exchange: a working definition of philosophy and art, as to whether they are in service of or a distraction to what we refer to as life, categories or territories in which to place objects in relation to philosophy/art/life purely for the sake of common reference - intelligibility and understanding - and a working definition of self, as a category to refer to. The OOFKAUU is a system isolating/framing the dynamism of life through course of conversion via conversations, a process both validating and estranging, the horror of memory becoming solidified through history. There are moments from my own past which I would rather have erased: where are these experiences? Merely in my mind? The experiences (to which the memories refer) were shared with others who certainly formed unique autonomous memories, comprising a time distinct from my own, so what are the implications of trying to escape from re-membering these experiences? Am I the only one maintaining them, by remembering them, by maintaining them within the present? Are my memories relevant or relatable to anyone save for my own self? What is lost (or gained) in their forgetting, consciously or unconsciously letting them go, and then where do they go? Through these conversation I expect a discourse to arise, but the video needs to be treated separately: a document of the person, of the space, of the physical and material qualities of the interaction = requires great sensitivity and attention.

I want to collect footage of white sands - the luminous void - and the house representing the circle within which I have been pacing for the last 3 months. These places are not magic, rather the antithesis: not an enjoyable experience, not allowing any escape from my past selves, there was no purpose discovered even in remembering my previous pursuits. Heima in Iceland - attracting artists that are lost and LH looking forward to a time when more accomplished artists, more affirmed in their projects, will arrive to see their work through to completion. What I found in Iceland is an interest in origins - of myself and 'in general/gene-real' - the study of the medium of conversation, video as capturing time, audio as capturing presence, and an affirmation of my personal search as having consequences beyond my own boundaries as an ontological investigation.

Concerning virtual performers of the ensemble: I know I am real (through the procession of the OOFKAUU) but this does not affirm the reality of relations of others - regarding their existence I am less sure. The OOFKAUU as a process of questioning, touching upon and highlighting where I end and an other begins, through course of bodies and linguistic definitions, of being and identity, and methods of understanding in relation/opposition/choice of craft in forming a sense of purpose to their own projects, of themselves and the world they world actively, is it sustainable or in conflict, a productive tension or a destructive one, met with horror or terror or ecstasy - the nature of passion! The body (represented through video) is not as important as the isolated EYE - turning vision into the void immediately filled with everything, creating contrast between things, drawing contrast between beginnings and endings and other scales of periphery. The methodology of shooting video needs to be refined, to increase sensitivity to the spectral gradients and the illusory lines of seeing. How is the method of audio capture define in relation to video?