The below was performed by Max Trevor Thomas Edmond at the launch of issue 11 in reference to Homenesses printed in the issue.
i submitted homenesses as a text to be read and not as speech.
as having as little as possible to do with speech and as maybe unspeakable.
incongruences between the two made apparent by reading writing aloud.
in space between representation as text and as speech.
not simply or necessarily problematic in terms of communicating. different modes of signification, different conceptual approaches, different pretensions.
problematic when in terms of reducing one to the other. translating from one to the other, trying to retain the same meaning.
I.e. which is as home and which is as guest.
also still following habits/patterns of writing as in general removed from those of speech.
Also personally more entrenched writing habits – being more strongly possessed by writing than speaking as a creative vehicle.
speech as necessarily translated from a text, neednt be run through another. a written text
right now, writing as writing, though intending toward speech,
writing towards presentation as speech. incorporation of the element of speech into the wording.
opening a capacity for speech.
knowing the failures in advance.
though not necessarily trying to make it speakable either. reduction to what is convenient for speech getting in the way of expression through writing.
as with conventions in general.
to build a conceptual or thematic structure – falling back upon writing processes – returning home –
though already bastardised by the necesary reading aloud.
writing in terms of how i would comfortably speak. no way it’s going to come across as not completely constructed. so back to stilted.
preferably more awkward than correct.
in representation of the capacities or limits of my writing practice.
as how i wold comfortably speak or have myself represented.
i neednt remain tied to the practice of speaking. i dont need to sound like im speaking. only like im acting.
as playing a role the viewer is aware i am playing. aware of the artifice.
representation as already the out of home. the concept represented by or in home as also the in itself of an object.
the re- represents an out of home of the object.
The home or inhabitant again somewhere else.
the representation is a house or housing – bringing homenesses out into a public.
a text as traditionally and instrinsically on the pretention that it re-presents – ideas – movements – structures, which have their home elsewhere.
i.e. taking them from their home and placing them in another environment.
potroast and its theme as home as housing whatever submitted content – as an invitation to guests to like a themed party,
potroast housing a theme as home only of certain guests. certain presentations of guests.
then each piece submitted as a rehousing of the theme, a way of arranging the home.
situation in/by or to a different environment.
this text-speech-act as another rehousing, and its translation into or compromise with speech as another.
as neither speech nor writing as such but theatre.
theatre as further from home or more pretentious than speech or writing.
the audience congregating under pretense or pretention of being-audience.
as audience to specific show, view, showing or viewing.
ie no longer as such private ie no longer home – contrived – uncomfortable – unheimlich – further removal
contrivance and discomfort deferred to locate the cultural enjoyment.
tolerance as adding to the value of the pretense.
various removals – repeated removals – insistent layerings
the effort to leave a home adding to the value or at least the expectation. the effort to be immersed in something to be later represented.
as theatrical representation – to which ive already submitted.
theatrical self representation. representation by a theatrical self. representation as self via theatre.