Visited a children’s holliday singing event. The stage lights were bright and the kids danced while singing, which means none of the kids actually saw their parents in the audiences. I think stages work this way, their design (architecture, lighting / scene building conventions) convert the actual audience into a generic mesh of anonymous bodies. An audience converted to mesh trough design, distances the performers and the audience. Both parties are shielded from individual gazes, which allows them to assume positions their class does not permit. This does not emancipate them because their freedom is a projection, the vividness of which reflects their distance from stage apparatuses (such as backstage, moshpit, surrounding camps etc.).

This is how a performance becomes a ritual. When you don’t see the specific audience, it becomes a projection which manifests the spirit of the event. It can only be supportive, as the stage design only affords meshness and genericness trough its design. A performance can fail, but the failure only celebrates the functionality of the stage! If you accept the stage, you accept modernism. When you don’t know whom you are performing for it is possible to perform for the dead. Which, I think the kids were doing. Performing zombie trad. folk songs for past generations which weren’t present. It was a very modern, very hallucinatory event.

Is France Having A Revolutionary Moment? ft. Richard Wolff (TMBS 120) (2019) The Michael Brooks Show. A good overview on how the yellow vest movement in France evolved into general strikes which attempt to kick Emmanuel Macron out of office. I wish a similar broad overview would be made of the recent Finnish strike & prime minister exchange maneuver.