Duykers and I have been sneaking coke and aspirin out from under the watchful eye of Melissa, our dear director. She seems to think it a symptom of unhealthfulness, and doth not accept our need of it for our creativological inventionity. But I say more and more and more and to follow it up with shots of icy cold Belvedere, poured down my open throat by a young lesbian, hand on my throat, an unseen assailant yanking back my hair. But this is the way we artists must move our world forward, innit?
The Mordake story has become more personal for me as we have proceeded. Mordake has a problem integrating a perceived feminine shadow-self; a typical Victorian who represses all his imperfections, his vices, sexuality, etc, and who wants his nature blocked off in neat gardens whose borders are at right angles. Is there a modern connection between us and him, that his faults come from this difference between who he really is and the image that he presents to the world? I know that I have struggled with integrating the so-called darker aspects of myself with those images carefully chosen, and as well integrating the masculine and feminine, qua engineer and artist (which is which is left as an exercise for the reader).
It's been great to see the piece come together. It's wonderful to hear Duykers sing it - so much better than hearing me sing it, even though I do like the sensation physique of the vibrations passing through my body, the Navier-Stokesian eddies forming about my glottis, like The Eternal Syllable of the Hindu. Matt Jones leaps up to satisfy each of our whims, cutting bits of paper dolls when we require it, tearing apart circuits and speakers, rigging floating gramophones and of course subversively continuing to prepare the way for our robot overlords.