Constant Vigilance/Our Social Eye(s)

(photo above: Any Size Mirror is a Dictator: Homage to Allan Kaprow, 2012, Photo by Eyal Perry)

MIDNIGHT, Friday, June 23—NOON, Friday, June 23

The Neo Domesticity Performance Art Festival continues late into the night with Constant Vigilance/Our Social Eye(s), a 12h performance by Panoply Performance Laboratory (PPL);  Operating between midnight and noon the next day, PPL devise an opera in-situ via a five-part score involving self-surveillance and conscientious social entanglement. This work is situated in homage to Carolee Schneeman’s Eye Body, re-conceptualizing her focus on “use of the body as material” as processes of embodied materialization.This work is a part of Phase III of PPL’s current opera-of-operations, Embarrassed of the Whole (EotW).

Score: OPERATING INTELLIGENCE (the most basic score for How to devise a temporary, relational, one-time-only Opera)

This score may be performed durationally (2-24 hours). Full score should be provided to witnesses/any present non-operators.

 Text in each section is pre-(de)liberated in correlation with research to be presented from/as location A1 within the three-phase anti-holistic system “Embarrassed of the Whole.”

This score has five “steps” that can be performed in accumulative/emergence-ordering sequence. Each step begins with a statement (via speech or other visible/audible presentation) numbered and in bold. The word bracketed by *ASTERISKS* is the “prime directive” for that step of the score and also carries the thesis response to “HOW (de)liberately” that this step operates/embodied/investigates/researches/presents/signifies/substantiates (etc).

STEP 1. Seeing oneself in and as inclusion and exclusion of phenomenal appearances of matter(s) via *CUTTING* thinking and operating

Collaborating operators make some spatial decisions IN ADVANCE, in relationship with the site of this score’s operation. For example “begin as far apart as possible but within the upstairs and downstairs rooms at Glasshouse assigned to us to use for this performance”).

IN SITU, performers first assign a number of instances of operation to their own bodies or practice phenomenal instances of action/activity. Phenomena (de)liberated can involve phrases and/or other “parts/pieces” of anticipated causal devices, acts, and operational apparati)

HOW to sing the following is decided individual beyond the descriptions “softly, while thinking,” and “performed in unison at the beginning of this step of the score”)

HOW can we come to become


Resisting the reproductive recursivity of this particular
material reality (always passing)

PREVENTING negative reinforcement of the alt+delete+control key
DISABLING the positional enforcement of the caller ID

And performing LIBERATION of mentality

(de)liberately how, how (de)liberating

Step 1 is concluded when each and every performer has (de)liberated a certain number of phenomena. Collaborating operators should decide IN ADVANCE how “many” phenomena each operator will (de)liberate and remember. Some way of marking or communicating completion may also be deliberated.

STEP 2. Conceiving ideological and aesthetic awarenesses and intelligences as (dis)(en)abling operations, being aware that possibilities for directional/motivated change stem from intra-actions between meaning and matter as phenomena are (de)liberately *LOCATED* in consequential relationship with other (de)liberated phenomena

(devise causes or starts and conclusions or halts to each operational phenomena, using the properties and qualities of each, making possible a (con)sequential operating environment. Order, in time, is primary, rhythm and repetition considered aesthetically)

 Sung one word at a time, in a circle of operators facing out, in attempts to not overlap words (overlaps or simultaneous voicings return us to the beginning of the text) moving inward, back to back, closer, with success. To be sung after a wholly remembered order of phenomena, before moving on to step 3)

Here comes the long, low HOW or awful WOH

The loss of past or future
myopic focus on the hands and feet

Deontic logics of oughts and provisions

Broken across the knee of sensory inclusion and exclusion
some attentions are parsed and resorted

Becoming akin to and intimate with one another as some


STEP 3. Practicing operating intelligence, exercising positively-affecting ways of behaving as if within and as relational operativities, re-connecting with intentions, ethics, desires, preferences, and abilities of the operating bodies, *RE-VISING/EN-VISIONING* an ideal arrangement and patterning/order for consequentialized phenomena, with respect for persons.

(iterate the (con)sequential environment, re-arranging, sythnesizing, layering, and transforming “parts” until emergence an ideal appearance of an operating state is recognized by all participants, then repeat, upon realization or apparition of an intentional/ideal (con)sequential intra-activity, this (con)sequential intra-activity as a particular mode of operation. Operators may dicuss/debate, the shared intention is to shape and in-form “an opera” as a becoming-singular phenomena greater than the sum of the individually-(de)liberated phenomena)

 Sung call-and-response while rehearsing

A                                  B

Is it as academics       (selling ideas)

and psychics                (selling prophecies)


Sung as a stop-gap replacement for removed aspects and sequential elements or phenomena

 (systemic operations involving forms of agency
have suited us conceptually
for such a long time, why not simply

re-brand ‘em and move on?)

STEP 4. Sustaining recognition of operating intelligences beyond productive and representative agencies; exercising generative flexibility and increasing potentiality for movement and change without sacrificing some safety, integrities, intentions, and attentions, both in the long run and instantly, *CONDENSING* into something known and understood by operators

(during sustained repetition, allow bodies to encode, simplify, and compress their instances of operation in order to make their own stated/subjective operativity more “of quality” [perhaps sustainable, easy, readable, fun, aesthetically appealing, efficient, singular, individuated, particular?] sustain repetition during a period of transformation until a secondary ideal is reached and sustained and acknowledged as an “constructed/staged version,” this ideal should take less than half the time and space of the initial field of operativity, closing partially into “an autonomous opera,” elements of context and content may be adjusted, emphasized, dramatized)

Placed into “the opera” as overture, aria, etc, used as material in relationship with any other sonic or linguistic phenomena presently involved:

(conceptual qualification of one ontologically metaphysical whole

is simply re-described by

what we are doing here: defining some forms of quality

thereby forming those and that which may qualify)


STEP 5. (de)liberate dismantlings and (re)configurations, devised via attentions and instructions, initiating and agentially-realizing organizations that are affectively intelligent yet individually located, influencing and informing unknown wholes via ethical and methodological operating-awarenesses of selves

Any body may then “step out” or distanciate themselves from “the opera”— one at a time, in smaller groups, or as a whole ensemble—to re-model the operations or orient them differently, as pursuant to their own preferences, pleasures (aesthetics) and uses for the opera. When each “leader(ship)” has transformed the opera, perhaps in the order of the originating (con)sequential order, the score is closed

Sung by each body stepping out as “aria” to signal new leadership

As I am always explaining

goats do not eat tin cans, they eat the paper off of them


As I am always explaining

it may not be so that




it may instead be seen as so








(at the end of the score, the following is sung)


In accordance with a conflict of locality      (the facings of the eyeballs which are out in the air vs. the air which is there beyond the eyeballs)
embedded in theorizations of sight,

any sights seen                                             (as constructive materializations)


have an inside and an outside

an included and an excluded

as marked

as deliberated

as encircled

by attentions





these mechanics of the ocular are much bespoke



agencies of matters and devices themselves are often overlooked


as the basis of the contact

which enables us to make some-hows from scratch (ES)
even by simply performing the making of some preliminary decision about RESEMBLANCE BETWEEN ENTITIES in time

–as a strategic/libidinous act–has the immediate consequence of bringing
phenomena of some specific sort INTO FOCUS, causing each to appear as if MORE COMMON
than perhaps might have been PREVIOUSLY PERCEIVED TO BE POSSIBLE


as in “I see the number eleven eleven every day”

(surely you’ve been savvy to this simple phenomenon
let’s take advantage of this, in asking if any form of presented common experience is still an advantage)

this third is the sum-thing materialized

a type of thing
a valuable invaluable THING
an object of attention
of itself AND not itself

i.e. an idea
idea (L)
idea (L) –ogy

a theory, concept, subject, or phenomena

even on the personal level of the preliminary decision, groups of things are given character beyond aggregate,
allowing each the securing, summoning, tyrannizing of every other member of a typology of things
through the lens of their own legal fictions

this is how abstract autonomy—a cognate diagnostic function—becomes

something again edible, suffusive, enough to analogize using proximity
pinyin then
pinned in, pure then puny


AT A TEMPO SOMEWHERE BETWEEN BREATHS (at a variable ongoing tempo)
MEALS (three times daily)
PAYCHECKS (every two weeks)

CULTURAL NORMS (every 17 years)


Pause and then:






Pause and then:


Say you are a surgeon
looking down into the open abyss

of a ribcage
with the organs packed there afresh
and this body when conscious
was/is your loved one
let’s say
would your hands be

more steady or less?



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