WHILE OUT FOR A WALK WITH THE DOG

Going on regular walks with ___ as part of the new studio routine - an opportunity to commune with the creature under my/our care and the creatures of the neighborhood. Seems essential to respond to this space / place / territory / demarcations / people / objects / environment.

DEFINITION = frame of being (user/self) + time + space >>

To draw a frame around the object of consideration to determine what it is not. Who is observing, when and where they are observing, then comes the how and various what's, with the 'why' reserved to a later order of analytical experience. Philosophical analysis is removed from the thing itself.

It takes so much time to recount the previously elucidated territories, hence these self-addressing exercises. The goal is to reach the threshold of definition more immediately, to pick up where the last thought left off without having to recount all that has already happened, to keep the project moving.

Now, the work is sifting through the previous history to make sense of where I come from and how I have gotten here, to provide context for what is happening in the present, working backwards from now.

Continuous recording + text transcription risks redundancy. What is the goal? Translation into what? Another idea or form more simplified, easier to refer to, more abstract or specific? Into an image, a project, a performance? Why all this reiteration? At some point decisions must be made concerning the differences between iteration and reiteration, towards the putting to use of these ideas.

Voice messaging = a purging process, externalization, exegis, to take account of what is possible to articulate/expressed.

>> Turning into text - a process of transcription - to make legible, readable, a state of materiality

>> How to make the ideas accessible to others? Libretto, philosophical dissertation, organization and display of the files themselves (website).... etc etc. The work of the OOFKAUU address the problem of presentation, what to display and what to allow to remain hidden (or to actively obscure), to define the known and orient attention towards the unknown/unknowable.

>> To turn the text into a fundament upon which other interactions or conversations may be conducted.

1. Exegsis: expression: intitial articualtion: externalizing the internal ruminations

2. Stasis, solidification, not quite concretization.

Modes of generation of the material (primary order), then considerations of use (secondary order), then process of editing which solidifies into a certain form (tertiary order) = the tripartite structure of method/treatment of experience = can be applied towarsd any material of the OOFKAUU.

Example:

Text: 1. generate ideas through free form writing 2. coagulate ideas into propositions for experimental conversations with others (to try them out) to generate more content in relation 3. to utilize/treat the text to solidify/distill into a more concrete form like a section of the libretto (an aria) or dissertation (formal chapter or paragraph), or direction for stage/actors/musicians/performers.

A methodology of treatment, a strategy towards the use of these materials, over arching structure happening invisibly in the background but requires being made visible.

THE PROCESSION

1. having an idea while walking, being documented as a voice memo to be relived later.

2. doesn't require transcription but does need to be applied later, not repetition but put to use

3. will become solidifyied into a visual abstraction diagram which visualizes, presents, brings forth the hierarchies of potentials, strengths, and weaknesses of articulating such a system.

THE PROCESSION fills out from the middle, working back towards the origins of the voice (conversation with ___, Mladen Dolar, Maurice Blanchot, psychoanalytic structure of Freud/Jung/Lacan = locating the core at the center of a body).

The user, the time of their inquiry, the space they are accessing =

working back towards the crossing of knowledge territories = philosophical, psychological, psychoanalytical modelings of the self, divisions of body into a component/organ mechanistic model, actor-network theory of Latour.

Time = t-space, k-space, architectonics of the ego

Space = the technology of the voice, the territory of the body, the page filled up by writing.

The technology of writing (Barthes, Blanchot, Derrida), working back towards the origin of its own creation, utilizing different models of knowledge, various FIDELITIES/VELOCITIES/COMPLEXITIES of abstraction towards AN INCREASE OF CLARITY IN ARTICULATION OF THE MODELS. Ideal forms projected upon the experience of the world, prioritizing the rationalizing of experience over the direct immersion in their stream.

I can begin working forwards. Up to now I have been working backwards towards the source of ontogenesis- perhaps necessarily for the sake of framing, placing limitations upon the current focus to make it manageable, to confine the inquiry for the sake of framing, to make this point clear merely as a beginning, a fundament through which to contextualize the later work... the working backwards is an attempt to offer context. It is upon this foundation/fundament that all the research will sit, although it will remain in flux.

VOICE / BODY / TEXT / PROCESSES OF TRANSLATION / LANGUAGE / ORIGINS / MYTHOPOIESIS / ONTOGENESIS >> what follows?

* The vocalizations of the voice memos may enter into a mode of use by which it may become apparent that the speaking must no longer necessarily be confined to pure reflexivity, the continuous reiteration of the self from which the voice is emanating, articulating the fundament, the voice coming into awareness of itself, to speak itself as voice, through voice, relating to the physical body and the philosophical subjectivity determining its questioning. At some point this project will become exhausted, essentially, necessarily. What will follow will be an improvised form of speaking, located upon the threshold of lived experience and accounting for the living-through-experiences, which becomes pure performativity, becomes theatrical. Not through a distanced rehearsal of a text which has already been generated - a secondary performativity - but a performativity which is synonymous with life/living, unable to be distanced in either user, time, or space from the living of life itself, what Mladen Dolar refers to as the theatricality of philosophy (not a philosophy of theater). This voice will be capable of dictating a libretto of experience in real time. The text will cease to be preable, instruction, bullet-form, note taking and become the bringing-into awareness, clarity, and articulation of these other media becoming transparent as such.

What will follow will be generations of other text forms, architectural and notational descriptions, the articulation of a physical space which can be inhabited - the poetics of architecture, the poetics of space, will become increasingly relevant.

I'm currently working to give vision to voice. As this process increases in FIDELITY/COMPLEXITY/VELOCITY, as the methodology of speaking/transcribing becomes faster and the visualization/abstracting/diagramming more clear, the visual language will need to become more complex. How to map beyond 2D space - nth dimensional space? At this point enter cinema. The prologue anticipates this, but right now it's premature. The diagram serves as a pragmatic, tool-form purpose, to make an image out of all that is visible and draw a line around the void of the ineffable, a visual articulation of the threshold of comprehension. Eventually the image will take on a state of performativity, opening up the opportunity for new spaces (beyond the known) to be experienced through novel forms of user/time/space that cannot be merely pontificated/illustrated after the fact - documented in real time, performatively. The immediate access of iphone, small cameras, and other technologies will be essential in this regard.

The performativity will collide with the present. This language, process of thinking/seeing/feeling/enacting through the space of art/life/practice that happen in the immediate dynamics of direct human interaction, through conversation, is the goal.

TWO DIAGRAMS HAVE BEEN ARTICULATED HERE: one concerning the methodology of media handlings, the other a more meta-visualization of form/content, implying a third space (an orientation that is unknowable in method/content).

CURRENT PRAGMATIC TASKS:

- All the files accumulated in the archive need to be sorted through, transcribed, made use of. This information will populate the structure of the DIAGRAMS mentioned above and begin to structure a more formal textual outline working towards the articulation of the phD dissertation (the technique from Bratton via Zizek: trick oneself into writing by placing bullet place-holders and filling them out later).

- Applying this visual mapping/writing "tricks" technique towards musical notation - not so dissimilar from out the prologue video (and the VIDEOSCROLL before that) was created, with text markers defining a structure which was then filled in with content to craft into a seamless experience.

- Letters which will be written to others, building upon an idea of gift economy, Bataille's description of potlach in relation to Mauss, moving beyond Marxism >> poetic ruminations upon the act of labor, to be laboring without it being just about labor. To craft labor into a poetic act of beauty. The labor is the current performative aspect of this work, the movement that is not purely performative movement. THE CHOREOHRAPHIES OF WORK.

- Copious amounts of text which need to be sifted through, cut apart and reassembled into more useful catagories.

- Foundational diagrams of the OOFKAUU which will inform how/what images will be made going forward.

- Articulate choreographies of all possible movements: musicians, camera operators, stage hands, collaborators, walks for self-talking, studio space, etc. Other choreographies will emerge naturally through the interrelations of participants.

MAJOR CATEGORIES:

VOICE

TEXT

IMAGE

MOVEMENT

STAGE :: to be differentiated from space :: less time and less user or non-user depended, but some amalgamation of space and place = The stage is a making of context, the collection of physical elements which orient to the territory or come to define it as such. Movements are through the space but not bound by it. STAGE is the fifth category which most explicit deals with materiality. The other categories lack material specificity, it is defined by this fifth category. STAGE is the sounding board of the voice, the book of the text, the instrument of the ensemble, the speaker system, the cosmococcic drumset, the stage upon which the events are taking place - the scrim which frames, the platform which presents, the materiality of the frame. At the beginning it is the most basic frame: the white boards of the studio, the carbon table, the white panels placed on the floor to be stood upon, the movement around Lake Merritt for talking, the page as the container for writing = a problem: revisit concrete poetry as method for writing. It is the positioning of instruments, speakers, bodies in the frame, as frames. The primordial stage is the EYE, the physical EYE, the frame of the [eye], the scrim of the outside/inside of subjectivity. It is also a real space: of the studio, of my home, the carbon table which can be built and serve as a site for other activities to take place, of the speaking, writing, playing, movements. Another frame is the curtains: a spatial peripheral frame as a container to hold the activities held within.

THE RESEARCH FOR MOVEMENT/STAGE IS CURRENTLY LACKING AND NEEDS TO BE FOCUSED UPON MORE ATTENTIVELY.

The defining of these spatial orientations is through MULTI TRAJECTORIES: beginning from the middle and working towards the beginning - orgins/ontogenesis - and towards the END - towards the unknown and unknowable beyond the current capacities of articulation - but also upon other axis as may be defined through the visual-abstract-diagramming of method + category: striations, topology of axis defined by the interrelations of divergent media.

This is no longer the prologue, but is an articulation of the first act which is THE MIDDLE. A website is needed to display and incorporate all of these elements: generative model of the voice, textual schematics as it solidifies into libretto/dissertation/notational structures, the schematization of diagrams and cartographies of the meta-structural outlines, depictions of movements as a choreography of labor which may or may not be specifically located in the body (currently consists of Heideggerian oscillation, a movement towards the place of lack, path of least resistance, filling of an empty vessel). The website as a model for a WORLD STAGE.

PB describing architectures serving as flood gates vs. the effluvial / vulnerable / AMPHIBIAN state >> work towards a fluid dynamics.

Jumping into video is premature.

Music performance is premature.

Now is a process of relating, of the self, to the models, through relational dynamics.

The letters will serve as offerings/gifts, going outside the parameters of the OOFKAUU, lines which are thrown out to be pulled back in, bringing in new/fresh information from outside individuals to strengthen/complexify/challenge the OOFKAUU system.