(Wolf)/Drive Or How We Going?

Chaotic, chain reaction world. Figures always coping. Surviving, enduring.


Question of how to make sense of where to begin, how to construct, what to hang onto, in such a world. And no escape from its constant slippery slope, chain reaction absurdities.

Use of direct address in this...
shifting spaces of scenes...
re-forming into each other...


a constant: lecturing on Pierce's ideas of meaning in a universe of chance
and how this relates to a political question of movement, chance, change...

comes to questions of

where to begin
given the Spectacle
given the meme (repitition of forms, in the sense of what we might call trends or new directions -- which vertically inform the imagination of society -- constituting its self-development in terms of ideas and new directions, etc.. for instance: how concepts of evolution in the early 20th c. were popularized to create idealist arguments which justifed systemic oppression. Specifically, as rationale by the laws of survival of the fit. Hence, with the argument of evolution oppression was proposed as legitimate and natural. This set of ideas played an important role in the social imagination at the time. Or more recently how slogans of Globalization ("Globalization is Inevitable") were utilized to institute societies of privatization, and to limit questions regarding this development, in the west and differently, in the Global South).

the lecture itself problematized, by sexuality, loss, violence...

hence a fever, in the speaking, may arise.. a sense of running out of time...

a quality of the paroxysm... (uttering 'truths' with a sense that they are about to be swallowed up)...

begins with word play: see here

interrupted lecture is integrated into this. notes on that here:


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Earlier Notes:

Wolves
Wild near the city
She-wolf....

Scenes materialize of two.

A sequence of lovers. the logic of the story moves forward, from new materialized scene to new scene, though the performers and the time frame and the style of the genre of the narrative changes. In between the scenes is the world of chaos and chain reactions-- figures always just barely coping. Hence, folds within folds, within a larger constant framework of absurd yet survivable, chain reactions. Using Antononio films as sources, as well as romance novels. The performers interchange. Playing different roles, as the overall sequence or rather semi-pyschological 'logic' 'develops' sequentitally. This is done with overlaps and almost a kind of instant replay break-points in linearity. Yet time does overall move ahead. Still, at points, this somewhat cyclical structure of near-loops, is interrupted by strange speak-sing-songs of 'singular' characters seeking to escape the cycle, they perceive, to go into the woods, to become one with the wolves.
Eventually, the love couple becomes super difficult, as more and more concrete senses of time and place become important in the 'psychological logic' (psychological is not quite the right word: more like a sense of natuarlism inside the logic), and the layer of multiple genres falls off. A dance between them starts. Always falling and rising-- each picking the other up as the other fairly immediately falls-- so formally a kind of rapid circle near-tango of up and down movements.


At one point the wolf (seen earlier in the distance, and referred to throughout) or wolves, intrude on the scene and attempt to insist on a more objective sense of things. Much like Pasolini's crow, the wolf(ves) nearly lecture, perhaps in silence, and to rhythm how the cycle of emancipatory politics is the greater frame we are all in (paris commune, 20's in america, late 60's in japan, germany, u.s., 70's in italy) --- the history of our common lives.... (one of movement and a shut down by the state at a certain point... when and where terrorism arises, mostly)

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FP proposal

Working Title:
I and the Wolf and I


FP Proposal (Revision)
April 13, 2009



Keywords: Supergeneric, Displacement, Narratology, Absurd, Performativity, Shot Reaction Shot, Body (politic), Radio, other/banished, Routines/System



Overview

I will work with methods of translation and other trans-coding techniques, to open up absurdities and playful engagements with the routines and typical ‘stories’ and reasoning of modern times.

To probe how I am situated in reality
It will be in part a performance about a performance, which is in action or to be made and was possibly not made. Where there are interupptions, etc.


My process is to work with images and intuitions. This is how I start a project. It is how I am working now.


The images for scene development I am working with now are. These will be stylized.


- elements from romantic stories and films are re-appropriated into a sequence involving a couple and a third figure locked in a cycle. It is presented in such as a way to probe into the absurdities of modern times-- to examine the relationship of self to larger systems and the questions of self-and-other (what borders this relationship, who are you to me?) in the here and now.

- a lecture-series/education/radio program on the question of how to position the self in today’s complex and mind-numbing mediatic social landscape, that is itself having difficulties becoming in the here and now, due to the ongoing changes of other players, set, timing, etc.

- using shot reaction techniques in video to play with and displace logic of making meaning by the characters in their supposed endless love triangles and power battles…

There will be no "interactivity" of any special nature.

*****



The wolf and the west...


A wolf figure. There could be a wolf who operates much in the way that a crow operates in Pasolini’s film. He would tell the other’s how to understand their situation, from a more global, class conscious perspective, but in a nearly absurd fashion.

The use of the wolf here has to do with the re-arising of a memory of a figure in European and American folklore, which is closely connected with the land and the development of the city-state. Our relationship to the banished/ ‘other’ as, tied to this history. The excluded which is included in the very concept of moving forward as the sign of the other. But here returns to be actually the sign of a very different sense of otherness. It need not be fully explained in the text. But the development of the costume head will connect with this sense of borders, echoing in some respects the wolfman.



Empty time, gaps and rhythm.

This quality or experience of opening will surface throughout the work at different moments, in small acts of displacement from the ongoing text-in-action. This distance will be in essence moments in the void of different proportions. By this term of "void", I mean it in the sense of: "a neutral zone where one is inspired to pay attention to one's own sensibilities, and to 'reality' rather then 'representation'..." (Yves Klein). So, in the here and now. Thus opening a space between the rush of ‘stories’/narratives/logics and the here and now.


*****

At the opening:

3 dimensional human size words play a part... This will give a playful re-contextualization of the scene, as a whole, in front of us, at the level of language and its movement. As well as becoming a visual game with the audience re-combining and displacing sense – It will re-organize the audience’s active participation in the comprehension of what they are looking at, as a whole, and in its particulars.

This re-comprehension of what they are looking at, arrives again, thematically throughout the work.



The action of making sense is made visible throughout, in a re-combined stage space where allusions to the wild are juxtaposed right next to the routines of city-space.

I am a central performer in this, describing a lecture I need to make, and/or that I would like to make. And at times going into it. I.e. powerpoint. This may be on Pierce’s ideas of reality in a universe of chance and/or meaning in a our complex society, with reflections by Baudrillard, Autonomists, and Badioiu.


At other times there are distractions and new directions. New stories that arise.
New Romances. Cycles. Chaos. Financial Meltdowns.



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AFS