Of Morning and Teachers 2006

8/8/2019 Of Morning and Teachers 2006

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OF MORNING AND TEACHERSThe complete transcripts on Self-checking routines



you know that awful feeling,

where you wake up in the morning

and you just know you've

murdered someone



Teachers

by Daft Punk

Paul Jonson

DJ FunkDJ Skull ?DJ RushWaxmasterHyperactiveKevin CarolBryan WilsonGeorge ClintonLil Louis

Ashley BeattoNeil Landstruum Kenny DopeDJ HellLouie VegaCarol LexiDr. Dre's in the house yeahOmega in the houseKevin Edmonds in the houseJeff Mills is in the houseDJ DeyaDJ MiltonDJ SlugoDJs of the lowGreen VelvetJoey Beltram DJ ElseRoy DaviesBoo WilliamsDJ TonkaDJ SnowDJ KellMark Dana in the houseTom Allen's in the houseRobin Cluney's int he house



Ceevea in the houseLuke SlaterJerry CarterRobbert HoodParis MitchelDave CarterPat Melva in the house

Amanda in the houseSir Jordan's in the house, yeah

OF MORNING AND TEACHERS

In the morning, it dawned on me to play a practical joke on ^^^^^^^^ :

to invent a bucolic poet of a complicated kind and have him star –I no

longer know how- in a certain reality. I spent a few days working on

the poet, but I couldn’t put him together. I had already given up on

the project, when suddenly in the morning

–on March 8 th , 1914 - I came upon a tall trunk; I grabbed a piece of

paper and I began to write standing up, the way I prefer to write

whenever I get the chance. And I wrote more than thirty poems, one

after the other, in a state of ecstasy that I could not describe.

This has been the triumphant morning of my life and I will not live to

see an equal. I began with the verse: “#####”. And what came next, was

the apparition of someone to whom I gave the name **********. I

apologize for the absurdity of my words: out of me sprung my teacher.

And the case is that I then grabbed more paper and wrote, likewise one

after the other, the six poems of the series: “ ΕΕΕΕΕΕΕΕ ” by %%%%%%%.

Immediately and utterly…

This marked the return of %%%%%%% -from ********** to %%%%%%% - he and

he only. Or rather it was %%%%%%%’s revolt against the nonentity of

**********. And if there is to be a work of mine that bears the seal

of sincerity, this shall be… the work of **********.



The files

We are individuals who are trained to perform a creative task, and

conclude this into a product. Products begin in experience, but they

are not in fact experience, or even a necessarily exact reportage of

an experience. They are imaginative constructs, and they do not exist

to tell about the author or the author's actual experience—they exist

to be products.

(By product we mean anything from an art object to a gesture.)

The product and the information embedded in the product, needs to be

intelligibly communicated.

Following a similar pattern:

The audience will identify traces of experience on the communicated

information.

The artists collect fragments of their personal experience

(a particular or detached incident or fact of an interesting nature;

a biographical incident or fragment; a single passage of private life,

a‘snapshot’), and strategically organize them into meaningful

anecdotes. They refer back to these anecdotes and use them as

departure points for their various practices.

The audience must refer back to the anecdote and its uses and not to

the source of stimulation (the generic experience of the artists) so

as to interpret the work.

Either way, -to connect one artist to the other and to the bloodline

through the aesthetic and moral sensibilities they work with, or to

conceder every artist a self-contained system who manages his personal

tasks- brings both the artist and the audience to an irrelevant

conclusion(meaning a conclusion relevant to another story)



We propose a project about the artist’s practices as he

describes them himself.

The artists live and work in a familiar environment. In a familiar

environment too many or too few things are taken for granted. We don’t

need the grammar to define our situations; all we need is the verb to

comfortably depict a system of orientation that is constantly in flux;

and decide our places according to the validity of our practices as

means to negotiate the discontinued line of communication.

We will reflect upon:

References the creators use as catalysts.

The accidental surfacing and gradual fabrication of personal

mythologies. The experience of performing under the influence(s)

Personal mythologies

“I took upon myself to know ‘my’ myth, and I regarded it the task of

tasks” C.G. Jung, 1912

“I have now undertaken, in my eighty-third year, to tell my personal

myth” C.G. Jung, 1961

Defining that personal mythology is central to the adventure of one’s

ongoing work. The process of mythification is an easy and concise

method for applying rules of behavior. These rules influence our

experience which shapes our mythology which further shapes our

experience.

Inspired by a sense experience, the author dramatizes an anecdote to

inform his artful production. When shaped by and for the physical



reality of the specific piece, the anecdote acquires qualities of a

myth. The author identifies the qualities in his anecdote. He

corresponds them to other stimulations, and recruits them into a set

of personal mythologies serving to facilitate his performance towards

a desirable end. We fall into and out of myth several times over the

course of-a-life-time.

We don’t so much live by a personal myth as we live by the death and

the rebirth of a personal myth.

Conditions of a narrative:

Very similar to a staged paradigm but not quite the same, your

objective here is to tell a certain story in a certain way.

You will choreograph human and human-like intentions and actions. (We

shall call them references.)

Imagine there are three conditions to your voice: that of speaking,

that of being spoken to, and that of being spoken of. (We call them

tools-in-their-inspiring-aid)

On the last act you shall be endlessly realizing the story. When you

reach this state, you no longer welcome other(‘s) point(s) of view(s).

(We can call that neither ‘reality’ nor ‘illusions’, but morning.)

This recurring pattern, the author names it: A C C I D E N T



Accident

The second before the Accident is best described as one last spit into

the wind, and we all know what Lou Reed has taught us about that. The

wind, for the sake of this metaphor, shall be known to be Alias

records.

[Fred Madison:] "Dick Laurent is dead" …In The Poet's Companion

The Space BetweenBy Legendary Pink Dots

Billy was a car crash - all he ever knew was

pain. Lived a milli-milli-

millisecond, never born again. Though no

one saw him coming, plenty

witnessed his remains - Laid a wreath, yet

they never knew him…me, I'm

just the rain, laid poor Billy to eternal

rest, eternal rust.I soak the

dust that covers him, i wait for all the

others. They all have names

They all have names…

Red Harry was a bright young spark that grew

and burned old London Town in

'66. He flew to bits. He tore it down

(Bubonic bliss!).And me, I'm just

the kiss our maker blew to put him out. To



eternal rest, eternal rust. To

dust, to ash. I covered up and wait for all

the others we all have names

Waited for the others [they all have names]

Georgie was a cut on Hitler's knee. He ran for

weeks, turned shades

of green…They kidnapped me and made him

clean… On winter nights I

hear him scream. I cover up. I wait

for all the others. Jane? Her

mother was hurricane who swept the plains

And sneezed away a continent

with me(the sea). The team that made a myth

By hiding it became a hit on

Broadway but it wasn't quite the same – they

all FORGOT our names. We ALL

have names.

Magic, Manic, Majestic .

Magic: A state of referring to the influence of events or names,

the names of those men breathed the magic of the past(Luke and I were

somewhere over the airport near Windsor when the drugs began to take

hold)

Manic: Like in any "psychological thriller Manic is any act of

uncontrollable excitement designed to break up monotony of heroes or

cause intentional change outbursts of drunken violence and manic

activity and creativity"(The problem began when lyke started to

believe his own hype).



Majestic: mysterious quality of enchantment in manner or bearing.

Calm and strategy no! "Proud Alpine Peaks". Majestic was one of the

first alternate reality games (ARGs), a type of game that blurs the

line between in-game and out-of-game experiences. It debuted on July

31, 2001. While noted for its unusual concept, it did not fare well

commercially and was discontinued in 2002.

M to the a to the s to the k, mask

Man under influence

Influence is the phase of a turn in which a Methuselah may bring new

vampires under her control from her uncontrolled region by moving

blood counters from her pool onto the vampire.

We do not choose our influences, our influences choose us. They do not

justify our actions but encourage them the way teachers do.

But do we mean our practices?

The bloodline from objective to trial is broken and complimented by

displacements, by consistencies and inconsistencies, by newborns and

white noise.

Maybe we should stop treating these holes and contradictions in

practice as anomalies and see them as being of the essence of the

practice.

The key ways people can be influenced by:



The Catalysts*

Hence, in general, the bringing about of an effect, physical or moral,

by a gradual process; controlling power quietly exerted…

Investigate the causes of human change-whether that change is

behaviour, an attitude, or a belief. Inducing a change in behaviour is

called compliance. Inducing a change in attitude is called persuasion.

Inducing a change in belief is called either education or propaganda-

depending on your perspective.

* a catalyst is a device that enhances the process but doesn’t

necessarily show in the practice

The bookWe will collect, edit and publish a self-help volume employing the

concept of private myth.

Personal mythology consists of a network of stories that employ

metaphor, symbol, and graphic image. Accordingly, we will ask the

contributors to employ these elements as means to describe a

temperamental practice.

We expect them to design an infomercial (informative commercial)

about the production of their personal mythologies.

A contributor can be anyone within our reach who professes and

practices an art in which sciences and taste preside over the manual

execution.

We will report and monitor the modules into a book.

A book is an inherently trans-genre medium. The format of the book



allow one to stretch his style and exhibit desirable personality

trades from a less vulnerable perspective. For the needs of

typography, the contributions will act upon the devices of editing.

We want the book to be a text book to be referred to and used.

Who and how we contact them is left to our eccentric ways.

In the familiar place we live, we work with some with whom we share

close aesthetic bonds, with others with whom we share none, and with

most with whom our links are still under negotiation. All of them are

our target group but our greatest expectations lie with the latter

many.We will do our best to indulge them properly.

All about eveMargo Channing (Bette Davis) is the biggest star on Broadway but is

beginning to show her age. ”Nothing is forever in the theatre.

Whatever it is, it’s here, it flares up, burns hot and then it’s

gone.” She encounters a young aspiring actress Eve (Anne Baxter) who

claims to be her biggest fan, and who warms her way into Margo’s life,

in order to “study her like a blueprint”. Gradually, it is revealed

that Eve is more scheming and duplicitous than she seems. She uses the

lives and expertise of Margo and her friends to reach her objectives

in the theatre business. “Wherever there’s magic and make-believe and

an audience, there’s theatre” Bill Samspson (Gary Marrow), Margo’s

boyfriend and director, observes. And Eve, the manipulative snake,

heartbreakingly consents: “If nothing else, there’s applause…like

waves of love pouring over the footlights”. Eve begins working to

supplant Margo: she takes the role of her understudy and engineers



Margo’s absence so that she can play her role on stage. The third act,

“they’re gonna play it off stage”. Eve gives such a good performance

that her own career as a theatre star begins to take off and she

becomes a bigger star than Margo. The film opens with the image of an

award trophy, described by the cynical critic Addison DeWitt (George

Sanders) as “the highest honor our theatre knows-the Sarah Siddons

Award for Distinguished Achievement” -In 1952, a small group of

distinguished Chicago theatre-goers, began to give an award with that

name to actors which was sculpted to look like the one of Sarah

Siddons used in the film.-When Eve is awarded the trophy Margo tells

her:”Lovely speech Eve. But I wouldn’t worry so much about your heart.

You can always put that award where your heart ought to be.” It sounds

like a bitter curse but it might as well be a blessing, as the older

diva passes on the haunts of the trade to the next one. “The scene

must be properly lighted. Beyond the stage there is unacknowledged

darkness”. The entrepreneur terminates her mentor, the mentor had

terminated hers. “All playwrights should be dead for three hundred

years”. At the end of the film, Eve herself encounters an apparently

besotted young fan: Marilyn Monroe, relatively unknown at the time,

was cast as Miss Caswell, referred to by Addison DeWitt as a “graduate

of the Copacabana School of Dramatic Act”. The cycle WILL continue.

Marilyn Monroe stepped on the stage and out of the screen straight

into stardom, disintegration, and folklore. That morning in the mirror

MARILYN appeared only to retreat at once like a teasing child. She

immerged, and she receded. She hovered and fled. Somewhere in the

glassy depths of the mirror she resided, and had to be coaxed out.

Norma Jane’s Magic Friend in the Mirror she’d at once adored but now

knew she could not trust. Nor could poor Whitey Trust her. Whitey who

was far more patient that Norma Jane and less easily discouraged. For



suddenly, as Whitey inked her eyelashes, she might appear sly MARILYN,

crystal-blue eyes sparkling with light; she winked and laughed at them

both; yet minutes later, after a coughing fit, the MARILYN eyes had

vanished, and in their place Norma Jane stared in dismay and self-

loathing. Saying, “Oh” Whitey. Let’s give up.

The Jeune Premiere adapts a counterpart to resurrect a guild that will

soon find it has some secrets worth preserving.

The Jeune Premiere now devotes her personal customs to the rites of

the cult.

Cult-likeThe cult describes an exclusive system or community of religious orother beliefs and rituals. It includes not only the ritual activitiesbut also the beliefs and myths centring on the rites. A cult refers toa group with a high degree of tension with the surrounding societycombined with novel beliefs. The same group may both be a cult and not

a cult at different places and timesWe are interested in the concept of cult because its collective

experience reflects collective practices on collective dreaming.

From the inherent characteristics of the cult, we concentrate on the

merit of the rites practised. We match the rites to appearances of

practices.

There are two essential principles that lead from private custom to

cult: first, the cult as exercised by socialization (orientation);

second, the cult as an ultimate goal that can only be reached by the

individual (guidance).

It always seems to be individual incidents and experiences that direct

us to the public.



The funny part of dying,

and/or the money shot

A suitable spot for the book to be and be experienced in will be

designed. The part that the book will inhabit will be other than an

installation and other than an art piece. It will be a pictorial

reflection on the book and a reflection of the book. It will assign

the book its inborn tangible position; it will suggestively hint on

the apt way for it to be read and the state of mind that goes with it.

Let us dub it a set: a place to sit, look at and recall methods of

recovering personal myth. The set’s assignment is to complement the

book’s communal myth. So as to do so, we will look carefully at how

cult-like rituals of imagination are created within a framed space,

and how to reconstruct a cult-like inspired model in real physical

space with depth and distance. We think of ourselves as self-

appointed political observers with an agenda. First we assemble our

commentaries and then we re-enact the translated gestures into an

intense images to be fed back to the eyes of the addressee. In the end

we will hire an educated gues(s)ts to direct the happy end.

Ntora Oikonomou, Saxpazis Kostas

written on may 2006

Of Morning and Teachers 2006

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