World --Mystory and Gainesville--Instruction 4

In the Mystory itself, we "felted" the Family and Entertainment discourses. In theory, we could have used any of these discourses to create a felt, in which one discourse became expressive of the other. One of my initial complaints of the Mystory was that I felt like I had to dive into my past when all I really wanted to do was live in the present.

And yet, as we all do, I have still been living in the past, present, and future this entire semester. I've "involuntarily" remembered my past many times because I have been trying to tell my girlfriend about my past my life, so she can understand where I'm coming from. When we were composing the Mystory, we were just instructed to allow (especially Family) memories to come to us, without asking why. Perhaps now we need to think about what triggered those memories. What might be something in our present that triggers part of the popcycle from our past, and then how does one make that visible? This may allow us to discern what aspects of our popcycle continue to structure the unconscious.

In order to do this, we may take direction from Cindy Sherman's Untitled Film Stills. Since I am in a completely different time and place, I will try and re-stage moments/scenes from my Mystory. Not necessarily "literally" since they cannot be repeated, but try and find an object, element, or gesture that repeats in my present. The scenes that I take pictures of should create an uncanny connection for me to my past. I should try and figure out how to (re)construct (and stage-- like Jeff Wall) in a figurative manner how my past still corresponds with and influences my present.

That is, we look at the Mystory (which is both us and not us) and say: What is that for me (now)? The gap between then and now might be the gap of the unconscious.

My bandmate Lance took this and wrote on FB: "I call this one 'Blue Jake'"