WHAT ARE THE STORIES I TELL MYSELF TO CONTINUE WORKING IN THE SAME WAY? HOW CAN I CHANGE THE STORIES SO THAT I MANIFEST DIFFERENT RESULTS?

ORIENT THE OOFKAUU TOWARDS A POTENTIAL PUBLIC

• DEFINE THAT PUBLIC

• ADDRESS THAT PUBLIC - DIALOGUE

• CONTEXTUALIZE THAT PUBLIC

• SIMULATE THAT PUBLIC

  • BUILD THE STAGE THROUGH DIAGRAMS: PUT THE PUBLIC IN ITS PLACE

  • AUDIENCE ARRANGEMENTS

  • FACE LECTURE SERIES IDEA: AN AUDIENCE INHABITED BY MYSELF

• A MUSIC MADE FOR PERFORMANCE

  • THE COMPOSITION FOLLOWS THE ACT OF PLAYING

• AN UNTRAINED DANCE OF SYMBOLIC EXCHANGE

  • FIND + APPROPRIATE THE MOVES

  • RECREATE MYSELF OUT IN THE WORLD = WITNESSES

• IF ART = LIFE THEN LIFE = SCENE

  • DAILY MONOLOGUES PERFORMED FOR THE INTERNET

IS THE INTERNET THE AUDIENCE?

AM I MY OWN AUDIENCE?

IS THE CONVERSATION FOR THE WORLD OR FOR MYSELF?

WHO + WHAT DO I HAVE A RESPONSIBILITY TOWARDS?

WHO + WHAT IS BEING CRITIQUED?

• WRITE MY OWN CRITIQUE

• DESIGN MY OWN CONTEXT

FAKE THEATER : THEATER OF THE UNREAL = NO THEATER AT ALL

FAKE ACTING = JUST LIVING

FAKE RECITATIVE = JUST SPEAKING

FAKE MUSIC = NO RESPONSE JUST PURE AWARENESS

IN STAGES

STAGE 1: PUBLISH PROLOGUE

• ASSEMBLE FOUND FOOTAGE VIDEO + MOTION GRAPHICS OF DIAGRAMS WITH THE PROLOGUE PERFORMANCE RECORDING. PUBLISH TO WEBSITE WITH DEDICATE VIEWING SPACE.

STAGE 2: ARTICULATE TRAJECTORIES FOR ONTOGENESIS

• NEW DIAGRAM-DRAWING SERIES OUTLINING THE BEGINNINGS OF THE OPERATIC SUBJECTIVITY

• DESIGN THE REVERSE NOTATION STRUCTURE OF MUSIC + VIDEO: BREAK DOWN COMPOSITIONS FOR RATIONAL UNDERSTANDING + PERFORMANCE SCENARIOS

• NEW THEORETICAL TEXTS OUTLINING THE CEREBRAL FRAMEWORK OF THE LIBRETTO, MONTAGE TECHNIQUES, MEDIA AESTHETICS, ETC.

NOTATE MUSIC FOR PERFORMERS: ___, ___, ___

MAKE DRAWINGS FOR CONTEXT: NO THEATER