Palm Springs 2

What matters to me is the fact that those singular temporalities abolish the internal feeling of individuality and the emergence of my superego. This is why I want to display myself out of control, although under guidance. Being out of the control of the superego means the letting go of repressive values such as morality, and negative social values such as shame.

I am okay with people laughing at me as they see me losing control and I am happy if you do because exposing the individual fears that support shame is the one of the objects of this performance. Palm Springs is about the sublime in shamelessness.

The other object of this performance is, as I say, the search for singular temporalities. Different perceptions of length unfold. Superego is cancelled. I do not represent myself. Performance is never a representative art, at least not the way I perform. But it is hard not to represent oneself. To do so, I have to unrepresent. To unrepresent, I have to let myself go. Therefore, Palm Springs is also a journey in toxic mysticism.

Performance can only be presentative, i.e. non-representative; and time tells that each performance operates upon reality by accelerating the intuition of the witnesses, and sometimes even the witnesses’ awareness and conceptual capacity, the capacity of thinking themselves through. Performance is a trope of speed.