NOTE I.
THE ACTORS: Those entering THE ARTIST’s designated studio space [THE STUDIO].
NOTE II.
Prior to entering THE STUDIO, THE ACTORS may have varying degrees of familiarity with THE WORK, its thematic concerns, or THE ARTIST’s art practice [THE PERFORMANCE]. These varying preconceptions are intentional.
NOTE III.
THE ACTORS recognise that the use of their image is not malicious but a condition of entry into THE STUDIO [THE COMPULSION], just as their images are routinely used in public domains without solicited consent.
THE ACTORS recognise that we live in a society.
NOTE IV.
THE SCHEMA: The logic of the COMPULSION.
NOTE V.
When THE ACTORS enter THE STUDIO, there are two possible ways inside THE STUDIO—via the windows [VERSION I] or via the walls near the sinks [VERSION II].
VERSION I.
STEP I.
THE ACTORS enter THE STUDIO via the windows.
THE ACTORS first encounter THE PIGEON [WORK I], a mechanical taxidermied pigeon embedded with a live-feed camera system in its eyes, and rotating gears in its neck.
THE ACTORS engage with WORK I, examining the wires protruding from its feathers, observing its mechanical movements, and its embedded camera-eyes.
THE ACTORS talk amongst themselves, noting the latent scrutiny of techno-surveillance. They may engage in THE TALK, reflecting on the aesthetics of ‘the uncanny’ and ‘the convergence of art and engineering’ underlying WORK I.
THE ACTORS may wonder whether they are being recorded by WORK I.
THE ACTORS recognise that they have no way of truly knowing, though they may still make assumptions [THE INTERPRETATION].
THE ACTORS may choose to believe that THE ARTIST would never record them [THE COMFORT].
A sense of unease may begin to coalesce.
STEP II.
Further exploration of THE STUDIO will reveal
ASSIGNED GIFTS I-VIII [WORK II]: a series of framed silhouettes, digitally extracted from online images of THE ACTORS.
THE ACTORS approach WORK II.
THE ACTORS may recognise their respective
ASSIGNED GIFT by the outline of hair, posture, or perhaps memory [THE TRACE].
At this point in time, THE ACTORS are confronted with a range of choices [THE CHOICE].
- To refuse their ASSIGNED GIFT [THE REFUSAL]. This would make THE ARTIST feel sad [THE SADNESS].
- To accept their ASSIGNED GIFT [THE ACCEPTANCE]. If THE ACTORS accept their ASSIGNED GIFT, they hold varying responsibilities, based on THE INTERPRETATION:
- To dispose of it: THE SADNESS.
- To take it home and showcase it. This would make THE ARTIST feel happy [THE JOY].
- To gift it to a loved one. This would make THE ARTIST feel neutral [THE NEUTRALITY].
- To chuckle and take a picture: THE JOY.
- To confuse another ACTOR’s ASSIGNED GIFT as their own [THE MISINTERPRETATION].
THE CHOICE is built into THE COMPULSION.
If upon THE ARTIST’s return to THE STUDIO, any of the
ASSIGNED GIFTS in WORK II are no longer there and THE ACCEPTANCE has been enacted, THE ARTIST has no way of knowing what THE ACTORS have done with it [THE UNKNOWING]. Through THE SCHEMA of THE COMFORT, THE ARTIST chooses THE JOY.
THE ACTORS may feel that THE WORK is not sincere [THE QUESTION].
THE ACTORS may question THE ARTIST’s intentions in the act of gifting them WORK II.
THE ACTORS should know that THE ARTIST loves them [THE LOVE]. THE LOVE is reciprocated [THE COMPULSION]. This is a fundamental step in THE COMFORT which is compulsory to THE SCHEMA.
STEP III.
THE ACTORS note the last frame in WORK II, THE QR CODE.
THE QR CODE is a machine-readable code consisting of an array of black and white squares, used for storing URLs. THE COMPULSION dictates that THE ACTORS retrieve their smartphone devices, open up their camera apps, and point it towards THE QR CODE.
THE QR CODE is not to be mistaken for an ASSIGNED GIFT. If THE ACTORS mistake THE QR CODE for an ASSIGNED GIFT and take it off the wall, THE ARTIST will feel THE SADNESS. Nonetheless, THE COMPULSION dictates that THE LOVE still remains.
THE QR CODE leads THE ACTORS to THE SITE [WORK III]: a website that reads THE PROPOSED PROTOCOLS FOR ENGAGING IN A PERFORMANCE ON THE WORK.
WORK III is THE SITE of these words you are reading [THE TEXT].
THE ACTORS may choose not to read THE TEXT [THE IGNORANCE]. THE ARTIST accepts the limitation of THE ACTORS’ times. Despite THE IGNORANCE, THE LOVE remains unconditional.
As soon as THE ACTORS begin to engage with THE TEXT in any form:
- To scroll
- To click
- To skim
- To linger
- To read
Then, through THE SCHEMA, THE ACTORS become aware of THE PERFORMANCE [WORK IV].
As long as THE ACTORS are in THE STUDIO, THE PERFORMANCE happens.
After reading THE TEXT, THE ACTORS may revisit THE QUESTION. THE ARTIST has anticipated this, and prepared the following statement [THE STATEMENT]:
“It’s unclear whether THE WORK is guiding THE ACTORS, or whether THE ACTORS are generating THE WORK through their behaviors. In either case, THE LOVE is present.”
Once THE ACTORS feel THE LOVE, THE WORK is over [THE END].
If THE ACTORS are unsure when THE WORK ends, they are still in THE WORK. As long as THE ACTORS are in THE WORK, THE LOVE is felt.
VERSION II.
STEP I.
THE ACTORS enter THE STUDIO via the walls near the sinks.
THE ACTORS first encounter WORK II.
THE ACTORS may recognise their respective ASSIGNED GIFT through THE TRACE.
By THE SCHEMA, THE ACTORS enact THE CHOICE.
THE ACTORS may pose THE QUESTION.
THE ACTORS should know that THE LOVE is felt.
STEP II.
THE ACTORS note THE QR CODE.
THE ACTORS perform the required gestures to open WORK III.
WORK IV is initiated.
THE LOVE is felt.
THE ACTORS may consider which VERSION of THE WORK they are a part of. THE ARTIST has no way of knowing. Through THE SCHEMA, THE UNKNOWING is constant, and THE ARTIST feels THE JOY.
THE ACTORS read THE TEXT, which, by THE SCHEMA, has chronologically described VERSION I before VERSION II, the one they are currently in.
THE ACTORS engage in THE CHOICE:
- To read THE TEXT in chronological order [THE ORDER].
- To stop reading THE TEXT altogether.
- To skip to VERSION II.
Through THE SCHEMA, have THE ACTORS chosen to read THE TEXT in THE ORDER, they have obligatorily observed WORK I.
STEP III.
THE ACTORS engage with WORK I.
STEP I of VERSION I is enacted, but perhaps, THE ACTORS now have a different understanding [THE UNDERSTANDING] of THE WORK because of THE CHOICE they have taken in THE ORDER of their ENGAGEMENT.
THE ACTORS may pose THE QUESTION.
THE ACTORS reread THE STATEMENT.
WORK IV is enacted as long as THE ACTORS remain in THE STUDIO, remain on THE SITE, or engage with THE QUESTION.
THE LOVE remains.
Once THE ACTORS feel THE LOVE, it is THE END. THE ARTIST cannot know when it is THE END. Through THE SCHEMA, THE ARTIST chooses THE JOY.
THE ACTORS may choose to read THE TEXT backwards starting from THE END [THE DISORDER]. THE ARTIST has anticipated this. THE DISORDER is built into THE ORDER.
When all the ways of viewing are accounted for, planned, and anticipated, what remains is not THE CHOICE, but THE COMPULSION. THE ACTORS will feel an urge to invent new forms of participation. This, too, contributes to THE UNKNOWING. THE UNKNOWING is built into THE LOVE. Once THE ACTORS feel THE LOVE, THE WORK is over.
THE END.