Remember to keep talking. It's Sunday and I'm in the bathtub. It reminds me of ___ - sounds strange when I say it outloud - but he always made note of how his greatest ideas emerged during the moments lounging in the bathtub.

Perhaps large swaths of these recordings should be silence....

I have to start talking, that's the point of this recording. I must begin externalizing these ideas which are amounting within my psyche. There's a collision of many different aspirations currently underway: there's the current reading list which I began amounting since returning to the states, attempting to accumulate artillery to offset the anticipated foundations I will soon be assimilating from the official EGS reading list. My weapons include:

And: Phenomenology of the End - Franco 'Bifo'Berardi

Staying with the Trouble: Finding Kin in the Chthulucene - Donna Haraway

Always Coming Home - Ursula K Le Guin

Where the Bird Sings Best - Alejandro Jodorowsky

Psychomagic - Alejandro Jodorowsky

Disparaties - Slavoj Zizek

Philip Beeseley assignments

Heidegger assignments

There is a list that came before also, all the texts that I read through in Norway which laid an important foundation, as well as the list plowed through during my extended residency in Iceland. These books should be reviewed, put into sequence, quoted and infused within the current tendrils of thought. All these books proliferate new ideas and methods, vocabularies, methodologies, stacked up ontologies, forms and vessels, structures and portals for passing/thinking-through, by way of myself and the other, of context as place and self also, thinking through thinking, thinking through reading. Ultimately this is what the opera is concerned with: reading, ravenously, the role of the reader, the method of reading, as a strategy of active listening and hearing the voiced experience of others. All these experiences must be remembered, kept close to home, available for active recall, until the day will come when I will transform my role to that of the writer, relying upon this thickly layered sediment to serve as a firm foundation for the catapulting of my own voice out into the aether, an instantiation of a philosophical and poetic voice. How to write an opera of experience? By not writing, choosing to read instead, to allow it to write itself.

There's no explicit method of writing: it changes for it is change, it adapt for it is adaptation, I practice through it as a method of practicing all methods simultaneously. I am attempting to practice a responsiveness to the flux flow of the method I am developing as it develops dynamically in relation to the world's own dynamism. All of my experiments in music and composition, in writing composition, in reading organization, in choreographed movement-in-relation to the stimuli of intellectual sources - the corporealization of proliferating ideas - are in relation to the meta-proposition of reflection/reflexion of attention through a form serving as both container and substrate, to sit without being restrained, to serve as a ground or a stage, a medium of forms always remaining open to all possible means, a text definitively to be read while serving as its own referent, if it is to live. I am foremost interesting in continuing the project of the living - let death speak for itself.

So how to write the OOFKAUU? There are voices arising from a void which I am becoming increasingly aware of as they make their presence known - not voices within me, voice that I hear directly, addressing my being, I am not becoming schizophrenic, but rather an awareness of the necessity of risk taking into an authentic access to the potential of writing through multiple conduits, an exuberant feeling of freedom to wield various angles and tones, even the becoming-obvious of the absurdity of failing to recognize such a potential. The voices are my own, speak through me as a medium, are voicing the real and imagined orientation of others I have assimilated and continue to encounter. What's important is not to articulate on the behalf of others, but to imply their presence while staying rooted in the singularity of the conversation, to maintain the wholeness of my singular voice resonating within a pluriverse, a plural reverberant spatial expanse of re/action, re/in/flexion, re/dis/cursivity. The OOFKAUU is the articulation of the space of potential within which these dialogues may transpire. It is the stage, and the composition, not merely the libretto or the orchestration, not just the theater or the actors performance, but the entirity oscillating through all the parts - a holon apeiron, or holarchy within a great chain of being. According to Le Guin: an ERA/AREA/ARIA - a time/space/song of continuity.