Seyðisfjörður ICELAND JANUARY 23RD 2016


There are characters speaking

with space in between

to differentiate their words but not themselves.

They are speaking as themselves to each other, but the difference is uncertain.

The distance between oneself and the other: a matter of essences, a method of illuminating facets of the same form.


The dialogue with each other is an attempt to describe; it is a process of description.

It makes an object,  a perspectival object with major and minor facets, considered to the extent that the opera is an object of art, a working out of an artistic process, a "work" which is to say a material instantiation of a perspective lived through experience.


The dialogue is a drama: a theatrical spectacularization. It makes a spectacle of life. It is not life itself, but removed from it. It is artificial, synthetic, a construction of determinism removed from the course of nature. A constructed reality that mimics through a parallax dance that which we embody in and of ourselves.


It functions, as a tool, to allow us as viewers and makers and participants in the theatrics - of life and of this opera of known and unknowable universes - to dislodge our understanding, to break away from the known in order to inch closer-ever-closer though never quite touching the resonant morphic field of the unknowable just beyond our senses but influencing them concretely nonetheless.


The dialogue of the actors - of the characters - singing and speaking in this opera is one of description, each speaking from their own disparate voices while accumulating a unified vocalization, distinct voices being spoken simultaneously to intone a chord. The elements and forces of the chord are tuned in and out of focus, modulating attention with intention, mixing up and down accordingly, respectively, to the articulation of focus for each individual scene, if there can be seen to exist more than one (scene). The singular movement of the opera form encapsulates within it's folds the distinguished micro systems of the material parts, orienting them to each other in auspicious display in order to demonstrate through the mixing and repetitive cycling of their spontaneous scenarios that the focal point of attention is precisely where all content emerges: to call attention to the autopoietic processes rather than the structures which contain them. It is through the enacting of this dynamic process that we will shine some light upon the various facets of so-called reality, which is to say clarify through intention-induced attention the unknowable aspects of our performed existences at the periphery of the known.


In the beginning was the word: the first scene must address it's own beginning. Through speaking we locate ourselves, the self, the I of the mind and the eye of the body: the location is the utterance of the first words. The first scene is what was already there, where it has always already been: a priori descriptions by an a priori subject with no memory. From this artificial beginning a process unfolds which loses itself temporally, so that after having begun the recollection of it's initiation is no longer relevant. In the end, the end becomes just that, a practical ceasing to an otherwise arbitrary process of temporal undulations, or at best a sign of infinite return or infinite regress, one or the other or both.


We start with the beginning, with each character stating their own perspective of awareness. The delineation between the character roles is made by distinguishing what they are capable of perceiving, upon their focus, more and less, to create a hierarchical order of attention akin to the teleological cosmogonies, scientific taxonomies, ontological semiotics, and phenomenological physiologies which inform our known reality. Each character represents a different caste within a universal order: a cosmological caste system of attention with degrees of embodiment. Each caste communicates through a unique language. Two distinct caste systems are described with two distinct casts of characters, which can be conceived of as two complimentary frequencies of the same energy current or two bodies of the same organism (the physical and the etheric double): a system of interrelated plateaus whose structure determines the key elements of the opera, ie: the sound, lighting, video elements, etc. The caste hierarchy determines the rules of how characters may or may not interact with each other and/or the other elements of the production; a cosmogony of rules so that every caste is aware of what they may or may not do or may or may not be aware of in relation to the other caste, forming a social hierarchy mirroring the spiritual hierarchy structuring our understanding of the known and unknown. This opera is a reenactment of an actual spiritual-cosmological ordering.


Each caste system has 3 primary voices or narrators whom communicate in an "intelligible" language which functions as a kind of hybridized, semi-fictionalized, reimagined English. Other narrators speak in a range of languages demonstrating a great amount of semiotic slippage: "Neu-Nordic" (a distillation of Icelandic/Danish/Norwegian/Swedish), "Caligrapheme" (combination of various Asian symbol-glyph-based languages), "Romanik" (French/Italian/Spanish/Portogeuse), etc. Other members will be less or non- intelligible, whom may still be understood but only through far leaps of imaginatively activated intuition, an altered state of attention not so much intellectual as it is wholly embodied.