IN FOUR ACTS

First act: "macamammamatrix" as it's referred to. Black screen with subtitled stage direction for implied movements in a black space and/or some linear diagrammatic schematic illustrations animated on screen, either following the direction of the subtitles or serving as conceptual instruction in lieu of them. Tension begins building.

Second act: the bubbling up of aleatoric sounds becoming language. Visual collage, youtube VIDEOSCROLL-esque compilation of bubbling lip orifice sounds from myriad sources, showing the opening and closings of corporeal inside and outside. Tension released through orifices as language.

Third act: "the sizzle." Similar VS-esque collage but now compiled in relation to the orated text itself, the libretto serving as an outline for the visual signifiers. The tension accumulates violently through thresholds from one unstable state to another in continuous flux, an abrupt drop out to a void...

Fourth act: "magic flute." The release of tension: steady cam shots of white sands or other voidinal representations, a void now filled with decidedly something. The motion of circulating material descends down to a stillness - distillation of matter.

Fifth act: spoken prologue libretto. An escalating crescendo to a transcendent potential which pierces the membrane scrim of the first expansion, defining the threshold without passing through it, articulating what is known: "the universe is a black love" serving as an introduction to a state of orientation towards the ineffable. The original music from the live performance should be deleted, to be replaced by the WARPSPELL - looping miasmic manipulation of Wagner's introduction of the Ring cycle - with a re-recorded monologue of my own voice. SUBTITLES of the text. Begin introducing a multiplicity of the voices through audio manipulation, filtering, affecting through effects.

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