ABSTRACT
In Gergen Kenneth earliest escapades he enlisted the help of Yongsoo Park, a talented and blithely creative student at Swarthmore College. People began splicing together video and film clips from pop culture for purposes of social commentary. Perhaps the most ambitious was a short film, Telos in Wonderland, concerned with identity in postmodern cultural conditions. Here everyone used small clips from the movies and television, each clip embarking on a narrative that was interrupted by yet another narrative life as a discontinuous set of events, often juxtaposed in ludicrous ways. People also included a clip revealing us in dialogue about whether to include ourselves in the work. By this account, Bach's engagement in the music was total. Not only were his arms waving as he directed the chorus and orchestra, but his body swayed to the rhythms as he literally danced to the music. He and the music and the chorus were one a relational sublime.
