Department of Reading






Speech Practice: Disassembling Voice. 3/4 March 2010, Stockholm. With Ingrid Cogne, Anders Jacobson, Achim Lengerer, Praticia Reed, Elske Rosenfeld, Tanja Widmann, Inga Zimprich. Quotes: Giorgio Agamben, Mark Fisher, Michael Jackson, Jean-Luc Nancy, Steven Shaviro and The Invisible Committee.


10:53:17 What does it mean to enter the space introduced by Jackson's vocal gesture in dancing? Can this voice be written?

11:02:59 Yes, I see the question and I think it is a good setting to work with these different elements and the different blind spots, to look at the interlaces and gaps: space - image, voice - image, melody - voice, lyrics and dance, dance - stage. Because they do resemble the hick-ups and drop-outs that do not only appear in the music, but that actually make the music. It is like another frequency inserted in this music, the place where this inhuman non-voice appears, that the music is tied into something new, or so

11:05:05 I was wondering therefore, if departing from that vocal tick, one might be able to come to an image of articulation.

11:05:55 Still the production of images in the idea I have of the world of MJ is connected to movie-making, incessant visibility, always being bond to the stage. It is an oscillating figure that constantly rotates and creates new angles to look at him.

11:06:50 A figure so subsumed and consumed by the videodrome that it's scarcely possible to think of him as an individual being at all. Because he wasn't of course becoming videoflesh was the price for immortality, being dead while still alive.

11:07:24 That is why I think of this realm of fantasy, the pinoccio-like puppet (now I don't know how it was with speech in the case of pinocchio), this embodiment that MJ has carried out also relates to his articulations in voice and movement.

11:13:14 Such a controlled transformation suggested an intense amount of activity concentrated into one place. It had a dynamic that was totally internal and yet produced nothing at all.

11:13:50 The question of what he might be changing into was nowehere near as interesting as the actual process of change itself.

11:14:26 The point of a successful aesthetic singularity.


LANGUAGE and MOVEMENT
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