Script



1
The point of a successful aesthetic singularity is that it crosses over directly into the form of the universal, without all those mediations that usually come between. Something is so absolutely unique (even when we can trace all the sources from which it arose) and so absolutely, achingly, joyously or heart-wrenchingly right, or just itself, that it becomes a kind of universal value. --------Something though that in this case tends towards or within time unfolds as an unbearable singularity. A "'line of flight" along which he continued to singularize himself, to a point beyond which universalization was no longer possible'" How is this singularity, this aesthetic singularity written in this voice. Is it the affectuous, the ephemeral, the bodily demarkations - yelps, hiccups ... - as well as technique, control that uncontrols, that marks the aesthetic singularity as voice? Is it an impossible voice?
2
I don't think I ever heard Michael breathing (but I do hear the dancers breathing here!). I heard Ingrid's breathing early on yesterday.
I guess it was she who wrote: Actually this hiccups feels like a consequence of a kind of asphyxia, when muscles have too much tension (when you want to push the limit in a way or another) the respiration can be blocked and a yawn can be activated by physical mechanisms.
And then she wrote: Back to respiration if I want to speak really fast a language (especially English)
and want to put in a limited time a certain amount of information to make a point yelps or hiccups will appear.
 
4
Michael Jackson makes the appearance of appearances because his is the impossibility of appearance. He can not speak because people scream, he cannot reach out because people would tir him apart. He is the place of a we that is bigger than ever. His resonance in us could appear as marionettes that realize an impossible appearance, as a shadow play, in the script. Speaking with a written voice. I guess this is to unscript the script to script it
5
He is walking beside her.
She is falling beside him.
He is falling beside her.
She is walking beside him.
Falling apart, gliding, sliding.
Small/big steps gliding parallel
sidewalks.
Now she is walking alone
in the round and speeding up,
slowing down.Squeezing with her sneakers.
 
7
What are images of articulation alike? Maybe Foucault's withdrawing author suggests itself such an image of intellectual articulation that is paradigmatic, in so far as it is determining for his time.
8
Again her breathing.
Concentration on:
listening to Michael's music and listening to the rhythms of her body.
 
10
Can Jackson's disassembling voice be written? What does it mean to enter the space introduced by this vocal gesture? What kinds of images are constituted along with its articulation either in writing or dancing? How do they come about? An image of the voice, or rather any voice. Maybe imaging in this something like a voice and bringing it to language. Would that as well ask to whom this voice belongs? Its articulation as that, what falls into time. What kind of belonging, companionship or complicity is played out?
11
He was balancing fast on one foot letting the song moving up and down his spine, like a S wandering through the body, his toes were dancing on the ground. The fingers grasping into the air to get a hold on: what? Mirroring his toes, maybe?
His S transforms in any direction and not just up an down the spine, also bending to the left, bending to the right, twisting the hips. She dances alone with Michael - now.
 
13
By his appearance alone Michael Jackson made bodily change acceptable to an almost unacceptable degree. At the center of the impossible appearance is a dissolution, a destablization of the constituent, also bodily, parts. To expose the mechanics of this change is dance, it is pure dance.
14
With her headphones on, she is dancing lifting her arms in the round -
do you remember dancing on your own in your nursery, Anders ... the sun's coming in around 4 o'clock?
 
16
to create HIMSELF in his own image
shine blindingly with a dark light

the history of human beings is perhaps nothing other than the hand-to-hand confrontation with the apparatuses they have produced; above all with language

something like the voice of pure technique
trapped into the image
incessant its visibility
its narcissism almost not human
its dynamic totally internal
producing nothing
only a few glimmers of any outside
of that time determined by a loss of any possibility to come to terms with it

Being an example thus, completely fallen to the commonality of its public? That fold between being singular and being always already incorporated to something common that appears.
17
hiccups feel like a consequence of a kind of asphyxia, when muscle have too much tension (when you want to push the limit in a way or another) the respiration can be blocked and a yawn can be activated by physical mechanisms

*

Like a accent of something that he has noticed

*
open
 
19
A life is ethical not when it simply submits to moral laws but when it accepts putting itself into play in its gestures, irrevocably and without reserve - even at the risk that its happiness or its disgrace will be decided once and for all.
  
22
What kind of vocabulary appears with this disassembling voice and the Veräußerung at all costs? --------Yet in the beginning you might think, you'd express yourself, and you don't make clear to yourself that founding the expression there is an impression, that is not deriving from yourself, not deriving from oneself. ... To let your subjectivity take its course but from a moment where you can have something objective right under control - body , voice, movement. What kind of vocabulary appears with this disassembling voice and the Veräußerung at all costs?
puppet
videoflash
id-exclamation
the point of a successful aesthetic singularity
23
A displacement that opens the door or the access to THE something else
 
25
his own responses to his voice are incorporated
spitting syllables
gasping for air
inhuman asignifying hiccups and yelps
learning to speak again after some aphasic episode
voice as vehicle of fantasy
ceaselessly in circles
charging these words
embodying the very compulsion
voice circling a psyche without a centre
something that resonated with everybody
controlled transformation
pinoccio-like puppet becoming videoflesh
an intensity concentrated within one place
  
28
Also here shines up a shift or threshold that renders the belongings of a thing or being to one realm or the other. I guess I just can't think of any other who alike Jackson incessantly crossed that threshold, held himself in an unattainable space and did so in the figure of an ageless child who had left all attributes of belonging behind.
29
as she leans forward
as he leans forward

as she balances
as he walks back and forth

as she turns her feet 90 degree
he is walking back and forth (unbrokenly)

as she turs her fingers
he is walking back and forth

do think twice
don't think twice

as he hicks with his body
she is focussing on her hand - minimal robotorlike movements.

as she checks the tension of her movements and her relation to the ground
he is trying out little bodliy hicks in moving - solely - backwards

as she is falling backwards he is slowly moving forwards.

as she is lifting up her arms in the round, he is balancing on his foot
coinciding with her rolling on the ground he collapses

as he is measuring his space, calmly
she is measuring her space, calmly
they are close for seconds

and then
he was lifting his arms -fluttering alone on the floor in the round - yesterday
 
31
Maybe in MJ's relation to objects, to cars, to pets and animals he readily accepts the power of the glove, the hat, the cars, transformers, the insignia, who just like him belong to the realm of magic. Who just like him are instruments. (Instruments of music but also always ready for being played, being played out.
  
34
And yet this illegible gesture, this place that remains empty, is what makes reading possible. Desire, utopia, movie-making sequences, the empty place's shift to pepsi-generation, it is also here that MJ is paradigmatic: To be honest, I guess you could say that it hurts to be me. Like, I don't remember not performing. But I guess that is part of the work. A lot of people misunderstand me. Because they don't know me. But in the film I don't die of course. Cartoons are unlimited. And when you're unlimited, it's the ultimate.
35
moving the lower leg fluttering


like a broom above the ground


and then


the same


with


her


bare


hand


like beckoning the floor
 
37
The dark light shining blindingly is the dysphoria, it means to appear without a body that would belong to oneself, it is appearing in the figure that is entirely entäußert, given over into the realm of everybody.
  
   
43
dysphoria, which here belongs to the question of the examplary space and its relation to contemporaneity --- partly by the (James) Brownian motion of his own language-disassembling vocal tics (the mirthless, and indeed emotionally unintelligible, joker-hysterical hee-hees, the ooohs shotgun-divorced from doo-wop's street corner community to circulate like disembodied wraithes in the survivalist badlands of an inner city ravaged by Reaganomics), partly by the astonishing arrangement
  
46
I wonder, what does it mean for Michael Jackson, to have a name. To have his own Michael Jackson name.
47
let it go
work on it
 
 
50
to have space