Script



1
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.
2
details can appear only if there is on the side/parallel a huge amount of the same or similar
 
4
Mon âme devint subitement plus forte et, n'hésitant davantage «Monsieur, dis-je, ou Madame, j'implore véritablement votre pardon; mais le fait est que je somnolais et vous vîntes si doucement frapper, et si faiblement vous vîntes heurter, heurter à la porte de ma chambre, que j'étais à peine sûr de vous avoir entendu.»--Ici j'ouvris, grande, la porte: les ténèbres et rien de plus.»
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
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.
8
details can appear only if there is on the side/parallel a huge amount of the same or similar
 
10
the softest voice

The later voice appears as pure technique, a command that yet would tear apart. that shoots out and overshoots the mark. That shrieks and collapses.
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
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?
17
the heterotopia of voice
 
19
...there is no mere task that must be fulfilled, no moral imperative, but rather an ongoing negotiation of one's capacity (and the inherent inverse, incapacity) that constitutes the seat of ethical being... paraphrasing from the Coming Community
20
Walking and notifying the influence of the disruption

Balance of the unbalance
 
22
Opening a space to see something which was present, but perhaps unseen and perhaps unseeable. Belonging to it but belonging to it as something covered. The famous christian love is common love and it is the love of everybody. In one word: Impossible love.
23
A displacement that opens the door or the access to THE something else
 
25
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?
26
measuring space, calmly
slowing down.Squeezing with sneakers
*
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
 
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
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.
  
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.
  
40
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
41
it's louder to dance without music : the hiccups feel like a consequence of a kind of asphyxia - Falling apart
 
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
44
falling apart
unbrokenly
 
46
I wonder, what does it mean for Michael Jackson, to have a name. To have his own Michael Jackson name.
47
as he is measuring his space, calmly
she is measuring her space, calmly
they are close for seconds
their pictures
nearly
touch one another
 
49
And then there is another aspect of this point of a successfull aesthetic singularity - I think of Mj, a younger one, of this different and yet similar voice, its Mj at 14 singing Aint No Sunshine When Shes Gone - a voice in between gender that crawls up your spine, and a softness that later will appear as pure technique and yet would tear you apart, touch you inescapably. The later voice so special as it is specialised, examplary as far it was a voice that would be the sign of the other by being excluded from any specific group, recognizable, inimitable and maybe already an imitation a mimesis of a self (the younger version). A strangeness that was given and a strangeness that was an aspect of forming the self as an aesthetic singularity, a voice that also in speech would be an event, a line of flight. Thus also the moment where he would give his voice in speech at a german, public Tv show and turmoil, the crave for chaos sets in You ever want something\\
that you know you shouldn't have\\
The more you know you shouldn't have it\\
The more you want it\\
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.
50
and then


the same
 
 
53
She is walking
She is falling


Falling apart, gliding, sliding.
Small/big steps gliding parallel
sidewalks.


slowing down.Squeezing with her sneakers.

She is walking
She is falling


Falling apart, gliding, sliding.
Small/big steps gliding parallel
sidewalks.


slowing down.Squeezing with her sneakers.
 
   
 
59
opening a space to see something
falling apart unbrokenly