A common practice before, after, or even during a Sejayno set is to “discuss the set”. This can take the form of a shared peace pipe, a round-table discussion, or a power point art-history lecture.
During this “discussing the set”, arguments are shared about the epistemology, or “how does what we’re doing come across?”
One of the most puzzling elements of our opera, Cezanno, was how the blue house confessions were used to effect a time travel back in time to 1889, where sea is one with Skyy, at St. Remy.
There, our Carson character, Rudolph Cezanno, introduces us to this rapidly industrializing world, and at the height, or perhaps depths of the Myst-Cezanno piece, Carson is left in a shaking palsy as images of mercurial dark-waters (Nicaragua) are flashed on the video. This reflects the general mecurialization of man-kind before the descension of the arcangel michael.
But how did we get to this time? Carson, as Cezanno, says that we “traveled back through time, through 1969, to arrive on the shores of 1889”. Why did he use the date, 1969, besides the obvious rhyme with 1889?
The key is in the previous piece, “Video Confession-based Reverse Time Travel”. The three members of the Sejayno unit do an “emphatic dance piece”, with Carson in the middle, shifting gears, and Pete and Seve flanking him in riding posture, both Kima (骑马) and NASA.
During this dance piece, there is a dazzling array of video confessions, by masked characters, in an obviously thespian, psychedelic state. These video confessions are ten years old, and form the lever of the reverse time travel. In the chronological middle, the journey gets rough, as reflected by the strained movements of the dancers; this represents the middle of the 20th century.
The middle of the 20th century culminated in 1969 with many things, the moon landing, JFK assassination, and the entrenchment of Vietnamese involvement. All these things were the product of various power-lords of the world, the various generals of the world, communist and capatalist. It was a grand time for generals, with many fruitions of war activities, a busy world full of dialectic conflict.
That is why we represent this toilsome segment of the reverse time travel journey with “Vampire General”, played by Severiano Martinez. It is a video confession of a Transylvanian troglodytic attic-dweller, as he demonstrates various attack weapons, air-guitar style. This is the art of sending men to killing, the art of the general. This general is somewhat boastful, and even grand-schemed perhaps. He penetrates space.
The moon landing seemed like an act of peace, but from the beginning our involvement with space has been that of a military role. Confer with Ronald Ray-gun’s star wars program, and its “lasers in the sky, blasting your nukes out of the air”. Ironically, note that Star Wars, set in a “long ago time”, was hailed by Ray-gun as exemplary of the dialectic between US and USSR IN THE NOW. Note also that Star Trek, projected in our future gives a fully militaristic, most precisely “naval” view of space.
This is 1969’s involvement with 1889, and the now.
This is why we are discussing the set, trying to untangle the secret memings of this sophisticated piece, Cezanno, Myst reverse time travel.