A conversation with Morgane Ciot and Alice Maynewaring, who run the production company The Classics Department, about their New York piece Psychomagic 9, inspired by Alejandro Jodorowsky's 1973 film The Holy Mountain and set on the film set of a fictional remake of it. They describe their earlier work as chaos theater, live theatrical dating shows partly modeled on Eric Andre's prank sensibility and staged to push festival crowds into collective effervescence. One of these, Bet on Love, was commissioned by a founder of the prediction-market startup Manifold Markets and pitched as a revival of the corporate industrial musicals of the 1950s. They argue that the silent seated audience is a recent invention and that participation recovers an older function of ritual theater. Much of the discussion concerns LARP, specifically the parlor or theater style driven by character and motivation.
Guest: Morgane Ciot and Alice Maynewaring
In brief
- Ciot and Maynewaring argue that the convention of sitting silently in a theater is a recent invention rather than something native to theater's older forms.
- They describe Psychomagic 9 as a chimera of theater, improv, LARP and ritual, and as a love letter to the chaotic process of making ambitious collaborative art.
- They distinguish parlor or theater-style LARP, which is character- and motivation-driven, from the foam-sword combat LARP most people imagine.
- They argue that immersive theater is moving toward LARP, with its audiences circling the edge of making real decisions without quite committing.
- Their earlier show Bet on Love was commissioned by a founder of Manifold Markets and framed as a contemporary version of the mid-century industrial musical.
- They claim participation can jolt an audience into immediate awareness of something in themselves they rarely get to see.
Full text
the the ancient roots of theater, even the like, you know, Elizabeth Ethan roots of theater. Like, it's actually a very recent invention that we go to the theater and we just sit down and we stay quiet unless we're like allowed to laugh and clap. At least in the in the context of what we're doing, we really see it as like invoking the ancient power of virtual theater to induce these new states of consciousness. And that, I think, is what participation does. It it really creates like the ability to be lifted out into a really like immediate and jolting awareness of something in themselves that maybe they don't get to see very often.
Thank you so much for joining me today. Uh everybody, this is Morgan Seot and Alice Manwearing who have a production company together. Uh, what's the name of your company? The classics department. The classics department. And you have a new piece coming up in New York City. It's called Psycho Magic 9. And it Yeah. It's heavily inspired by Jodsk's 1973 cult classic film, The Holy Mountain. Um, we're trying to really capture the spirit of the film, but it's also takes place on the film set of a remake of The Holy Mountain. So, it's also kind of a love letter to the creative chaotic process of making not just a film, but any ridiculously ambitious work of art with a group.
That's so fun. Um, yes, I you guys sent me the treatment and I was I was starting to read it and and digest it. I was really enjoying it. Um, but tell me a little bit about like the history of your productions and performances and and what you've worked on together. Yeah, we've I mean we started collaborating on sort of like underground party art and that's how we met and started fusing together as a creative duo. Um, we I mean the last big production, the last few like the first circuit production that we worked on together for some reason were like dating shows, live theatrical dating shows, um, that were initially modeled off this, you know, that were sort of done of Eric Andre, um, one of the OG pranksters.
And we were calling that chaos theater. So we started doing like these chaos theater performances that were initially a little bit like uh designed to galvanize people at festivals or parties into like into collective effervescence and like you know a more intense party spirit. And um one of those shows called Dating Show to Save the World. Um it was recorded and for some reason that recording um arrived in the hands of uh Steven Gregette, the founder of Manif Markets, which is a prediction market startup. And he loved it and he was like, I want to do I want to commission you guys to do exactly this but with prediction markets, which is just like a totally absurd thing that could only really happen in Silicon Valley.
But he was like, you know, industrials used to be a thing, like industrial musicals, like back in the 50s, you know, uh, like Kleenex would hire like a Broadway musical company to create like a whole Broadway musical for their employees. Um, lionizing Kleenex and also like, you know, to ferment team spirit. Yeah. And and this was that kind of thing except it wasn't only for their employees. It was for like building within a certain subculture in the Bay Area. Um, so that's so fun. Yeah, it was great. That was kind of the that was really the biggest project we have done up till now. And what was that called?
It was called Bed on Love. Uh, you can find it on You Tube. It was live streamed. The cinematography is gorgeous. Uh, it's a really, really well done recording. But it's yeah it's it's basically this dating show musical hybrid surreal existential interactive. Yeah. It's it is a chimera. Yeah. And that's what we love to do just like Yeah. The psycho magic 9 is also going to be very chimeical. As I said the chime, alchemical and theatrical. Spiritual and spiritual. Chime. What is chime? What what does chimera mean for you? Kind of just whimsical in a way or mysterious? Like a composite of many different things. Like we really like doing genre bending things with like the ultimate aim of drawing everyone in into something that feels like real.
Yeah. And like actually real, not like not you know like everyone it's like a little bit difficult to use these terms because they're always used in marketing. Um but we take them like really really seriously. Yeah. And we blend different formats together to create something that isn't really any of them but has elements of all of them. And that's what's chimeical about it. Like Psycho Magic 9 is part theater, part improv show, part LARARP, and part ritual, and part ritual. How do people buy tickets and learn about it? All that stuff. Well, we are we're happy to announce we're sold out. Oh, you're sold out already.
Really sold out. Yeah. Yeah, there is a wait list though. There is a wait list. Yeah. So, you can go to classics-depart. com upcoming and that will give you more information about the show and it'll link to an Eventbrite and then you can like get on the wait list for the Eventbrite. But I would also recommend signing up for, you know, signing up for our emails because we're hoping to do a second run of the show. Yeah, we're it's looking fairly likely that we'll do a second run if at all possible just because the enthusiasm around this run has been pretty strong so far. Uh so tell me a little bit about uh laring uh for people who don't know what it is.
Yeah, laring. It's short for liveaction roleplay. Um, and it it's a little bit of a cursed term to be honest because I think usually when people think about LARPing, they think about like people in the woods with foam swords yelling fireball, fireball. And that is one kind of LAR, but there's a whole other world of LAR that's called parlor style or theater theater style LAR that's more character and motivation driven. And and that's the kind of stuff that I'm really interested in. Uh, and it's it's basically an opportunity to take on a character in a fully immersive setting. I mean, I think in a sense like LAR is kind of where immersive theater is heading toward and wants to go and where a lot of these immersive theater fans like they're sort of dancing around the edges of LAR.
Like they're they're kind of edging themselves of like not quite being into LAR, but like oh maybe maybe we'll go. And I think we're trying to find the place sort of in between where we're pulling them a little bit deeper into a world where you're actually making real decisions. Like you're really playing a character like moment by moment and like having an impact on the story. You have objectives to pursue. You can change them and uh but but you're really pursuing objectives as an audience member in Psycho Magic 9. And that's that's the LAR that's kind of the LAR piece that we're bringing in. Yeah. It's not as Yeah, it's defin not as involved as LAR.
And we're trying to make sure that it's designed in such a way that you can always hang back. Yeah. Um because not everyone is like a diver. And we have designed this show primarily for divers. There's like a term there's a term in immersive theater that's like you're either like a a waiter, a waiter, a swimmer or a diver, which is like just basically different categories of people's preferences and like how deeply they like to plunge into the world and be a part of it. Yeah. And and most people I mean, it seems like right now one of the problems with immersive theater, particularly in New York, aside from like things like larger structural things like um space, like renting space is a huge issue.
Um people staying in and going to the theater list is also a huge issue. But one other thing that I think is endemic to Mercy Theater, particularly in New York, is that everyone seems to be really afraid to make theater for divers. Um but there's still kind of like a thirst. There is diver thirst out there and everyone everyone sort of like thinks that they got it from things like seat no more which imprinted itelves on the psych it really imprinted itself on the psyches of everyone like a mama bird like it's like the first thing that you saw in immersive theater and you were like oh my god I had that reaction like I love suit no more so much but I think right but you weren't you weren't really a character in the play you were just you're kind of they describe it they describe like the audience design principle as a roving camera so you're like a roing camera around the space of what is effectively, as you described it the other day, like an art inst or like a dance installation. Um, and it's beautiful and incredible, but I think it like awakened a thirst for people like the fact that you could like go like go around in a sandbox environment.
Um, really awakened like and like eat the candy and stuff really awakened a desire to just be able to like do stuff in a world and then that awakened a desire to like have more agency. And the people who have been in the LAR world for a long time like already know that this exists. But the people who haven't really know that it exists and like Alice said like just associate LAR with like hitting people in the head with a phone sword. So we're trying to that's like actually cool that's actually like that people think is actually cool to just eventually insert them into the live world. Did you do one recently that's had to do with like Clauskinsky and Rhog or something like that?
Yeah. So that was effectively sort of the proof of concept for Psycho Magic 9. We didn't know it was at the time, but that's what it turned out to be. At the Sundance Film Festival this year, we ran a a very small immersive party performance experience. It's a similar format to what we're going to do with Psycho Magic 9 where you, the audience, are members of a film crew that has gone out of control. Uh, in this case it was a film crew that was being dominated and chaos implanted by uh, Klaus Kinsky, the the, you know, famous famous 20th century German actor and uh, notorious feral beast of a human.
Uh, so we had our our own, you know, Klaus Kinsky lookalike. um our our muse and star Duncan Horst who will also be the star of Psycho Magic 9. He played Klaus Kinsky and people came in. They were introduced in a brief scene with Klaus's terror on set and then they were sort of sent around this party environment where there were other characters who were giving out quests to try and get the production back on track uh and and decide whether or not they were going to kill Kim Kinsky kill by the end of the night. Yeah. Uh, and and this was us trying out like, okay, how is it possible to make enough like questbased content that people can really be engaged and entertained for two or three hours and have it not feel repetitive or or or slower like people are and it went really incredibly well.
U I mean, it really felt like a party, but a party where everyone always had something intense to do at all times. Yeah. And that's one of the principles that we're borrowing from LAR. In LAR or certain styles of LAR, they say like always give people too much to do. Um, that makes me feel like you're kind of hyperengaged in the world. And like a little bit of overwhelm with the option to always like step back just goes a long way towards like producing this like charged adrenaline feeling that we want to use as like a substrate to bring people into, you know, an a meaningful effort.
And why do you think people are more interested in these more like immersive, you know, participatory spectacles? Do you think like people are just tired of theater? I mean, why why are you guys more attracted to doing this than doing just like a normal play or performance or something like that? I I am a traditional theater kid and and come from that world to some extent and I love love love traditional theater but I think uh everyone is very very used to framed entertainment uh you know at home with video games with streaming services uh there I don't think going to the theater offers as much that you can't get at home which I hate to say because I I I do think it offers something that you can't get at home but I think that it's been somewhat diluted and especially because well, okay, I'm going I'm going to tell an anecdote, right? I went to a a like a local theater production about a year ago and it was a musical and at the end of the musical they came out for the curtain call and there was an encore and they sang another song and like the audience gave a standing ovation during the curtain call, right?
And then when the actors started to sing again, the audience all went really quiet and sat down right away. And I was so like angry because that isn't what theater is supposed to be. It's not supposed to be this place where we're like domesticated into like following rules and being like, "Oh, shut up. It's only happening up there." That's not what that's not the the ancient roots of theater. Even the like, you know, Elizabeth Ethan roots. Like it's actually a very recent invention that we go to the theater and we just sit down and we stay quiet unless we're like allowed to laugh and clap. Um, and I think like at least in the in the context of what we're doing, we really see it as like invoking the ancient power of virtual theater to induce these new new states of consciousness.
Uh, and that I think is what participation does. It it really creates like the ability to be lifted out into a really like immediate and jolting awareness of something. It'll be different for everyone, right? But but something in themselves that maybe they don't get to see very often. And people are just like really thirsty for meaning. And when something when a piece of art is designed as an event like a capital E event as opposed to something that is just like repeated every single day or like you know just repeated adnauseium and that everyone has seen and that doesn't change any like it just feels like a little bit less real.
It feels like there is meaning but it's encapsulated on the precenium and it's like not actually part of your own life or the story of your own life. Um, and we do I mean like we started off working together throwing events and that I think informed a lot of my thinking about like what I want one individual theater piece to be. I want it to be like a capital U event. So in the case of Bet on Love, it felt like an event because it was speaking directly to a community. It was like it kind of I basically love theater that like is sort of like a stunt but with like more psychosspiritual verve.
Um, and I think a really really great example of this that happened recently um was called Burnout Paradise by uh Pony Cam. It was at the St. An's Warehouse and I actually didn't get to go see it, but my friend told me all about it and I like totally fell in love with it from afar because it's exactly but it it really like did a really good job of doing part of what I want to do in theater, which is creating something that is real and that has actual stakes. like not just that the characters have stakes in the piece, but that the whole thing, the the thing as a whole has stakes. And what they did, it was about what it's like to be an artist in New York.
And so they had four treadmills and each performer was on a treadmill and the treadmill and they had to run the whole time. They had to run during the whole show. And each treadmill represented one aspect of being an artist in New York. So, one treadmill was like um actually doing the art, taking care of family, um taking care of like life logistics, and then like doing like art fundraising or something. And they had like a bunch of tasks that they had to complete while running on the treadmill. And it was participatory, so the audience could like help you complete tasks and, you know, through like improv or things like that.
And the catch is that if they didn't beat their personal record of like miles run every single show, they gave the audience their money back. And that and my friend was like, I've never seen an audience so like galvanized and charged. Just the energy in the room is chaotic and frenetic. And I was like, yes, that is it. That's like a thing that has real stakes. And it's because it's like an event. It's something that you can't just like replicate forever and like disseminate through the void. Like it's just happening now and whatever is happening happening now is like nonfungeible. Yeah. It's like Yeah. Yeah. Like what does it feel like to really care about something?
I think sometimes people need a safe container to really care and we want to give them a moment of feeling this like, you know, jolt in their bellies or solar plexuses of like, holy wow, I really care about this right now. I care about it so deeply and I'm so absorbed and I'm just like pushing to achieve a achieve this objective. And yeah, we want we want to give people that experience. Yeah, that makes sense because people generally are like, you know, kind of maybe getting a little more shallow and distracted. um and emotionalists somehow maybe through all the social media and so on. So how do you re-mbod them or reconnect them and stuff?
Yeah. And guarded and there's like there's a feedback loop between creators and con or like consumers audience like audience is a better term. um where vocal minorities in the audience are kind of like afraid of being, you know, of being unsafe. And then creators are responding to that by creating like safe content that focuses a little bit more on like creating like tender experiences or like tiny little moments of of poetry or something, but not like digging any deeper because they're afraid of like trampling people's boundaries. And then the audience is like, "Oh, this is, you know, it's self-reinforcing. The audience is like, "Oh, right. This is kind of what I want because this is kind of nice." And then they demand more of that.
And it goes on and on. And then eventually you think like, "This is the way it's supposed to be." Um, forgetting that it's not. And I mean, like, you know, I think New York has gotten like this. I think LA is a little bit less like this actually. I think LA immersive theater is like is sort of thriving. I'm not totally sure, but it feels like a lot more alive than in New York. Um, M and it's coming out of the immersive horror horror scene. And of course, as soon as the framing of horror is on it, um you get permission to do things that are a little bit more intense.
Yeah. But in New York, the immersive theater situation is uh rather dire. There isn't actually very much a dire situation. Yeah, it's pretty dead. Um and it seems like you're sort of like if you're talking about um and a little bit of like shock effect. It sounds talk a little bit suggest like transgressive history counterculture avanguard. I mean do you sort of connect to that kind of lineage? Like who who do you feel is like your your kind of lineage when you look back through time and and think about what you're doing? Yeah, that's a good question. That's a really good question. I mean, I'm I'm definitely a big fan of Artto um and the and the whole concept of the theater of cruelty and the the idea of like creating a happening that is meant to wake the audience up.
Uh, of course, Arto did not really implement his ideas very much at all, but they were influential throughout the rest of the 20th century. And and and Gratovski is also, of course, a huge influence. Gratovski. Yeah, we've been re-watching My Dinner with Andre um leading up to the show cuz we resonate with um the ideas about theater. Yeah. My Dinner with Andre is a is a film from the8s that's just a conversation between two men about the power of of theater to transform, to spiritually transform. And uh and yeah, we've we've been we've been rewatching that and that's also a big inspiration for us. And I mean I also just want to say like I'm I'm a big fan of uh Gerjief and the Gerief work.
Gjief was a spiritual teacher from the early 20th century who was very heavily influential on Jodarowski. Uh and we are definitely bringing in some Gjief influence into the show. you direct from Gertief and and he also was very interested both in in to some extent in in theater and performance and also in the process of using shock to uh make people more awake. And uh he felt that shocks needed to be customdesigned for specific people. It wasn't like you could just sort of like have some kind of shock ritual initiation. It didn't work that way. It needed to be uh attuned to where they were at that time.
And although we can't necessarily custom design anything for an audience member quite yet with the show, we're kind of achieving that actually just because there's so much diversity in the content that we've created and so many different places for people to go. And we see it as we're creating this like magical container where people will find the experience that they need to have. That's the hope. Yeah. The hope is to design it like a fractal pattern of psycho magic where the whole show is like one big psycho magic act. Um the individual characters are each basically each have an arc designed around the idea that they're if they don't get jolted out of their default personality programming uh they will just end up in a psychic death.
Um, and then we so they're all going to undergo like to use a gerji term like a super effort um to attain to to wake up. And then we also want the audience to be experiencing psycho magic or like doing their own. Yeah. When I read the treatment, I saw you were talking about nine characters representing nine. Yes. Nine the nine points of the anog fan fans of the Yeah. the essentialist and I've just especially in the last few years have come into more contact with the idea that um we are cursed by our gifts like that like personality is this sort of like ingrained operating manual for how to be.
And so it's just a way to make our search for being like a little less uneasy. But it's so deeply ingrained within us that without some sort of huge moment where you're like, "Oh like the bad things that I'm doing have been like my destiny all along." Without a moment of realization like that, you could just like end up like this calcified version of your own personality. I've just seen so deeply that happening to like me and my friends and like people and like I just let you know the enagram isn't perfect obviously no system is great but it has like really really good descriptions that focus on that aspect of being and and of course like it was like a huge thing on the original set of the holy mountain Oscar Chazo um who created like the enagram typing system um and drew some influence from GJIF uh was on the set of the Holy Mountain as a sort of spiritual adviser. Yeah. Yeah.
So, we're paying and was it cuz didn't they have like nine main characters in in the Holy Mountain? The the sort of nine power people or whatever. Maybe there's only seven. I can't remember. Yeah. There were like planets plus the thief plus the prostitute or plus some someone else. I forget how many there are at the very end. I think there were like nine in the fellowship total, but probably included the alchemist. And we have nine characters plus an alchemist figure and a few other bon. What do you Sorry. Go ahead. No, no. What when what do you kind of like you said that you want the audience to undergo like a transformational process or what would you like people to come away from the experience with?
I think one thing for me is feeling like it is possible to do real things as a sovereign adult with other sovereign adults in a semifictional setting. That's that's one aspect um that we can all just do something real together in an imaginary reality. I say semifictional because of course we're in a fictional setting and there's a story unfolding, but also we're hoping that the psycho magic so to speak that people are practicing like feels connects to something real in their life. You know, they'll be I go ahead. Oh, no. Go ahead. Finish yours. I didn't. By the way, I'm I'm watching the video on my laptop at the same time I'm talking because I can't see it on my phone.
So, I'm getting a lag. So I so I so I see anything you're saying from like 10 seconds ago or something. 8 seconds ago or something. Um oh I also noticed that you had invited people to bring their ketamine prescriptions to the event. Um and uh that was sort of that was sort of interesting. That seemed a little transgressive. Now everybody I guess has ketamine lozenes and helpful kind of like therapists and so on. But I mean um what do you think of the impact of ketamine in general? I mean I think yeah. Yeah. Is it you think it's having a cultural influence? Is it a good influence?
Is it a bad influence? How is it influencing you know what you're putting out here? It's both. It's certainly both. I think ketamine is obvious evidently one of like the miracle drugs for depression in for like you know in psychiatry. It is like one of the few things that psychiatrists have been remotely excited about in the last 20 years. Um that said, it's not really like it's not perfectly effective. Um we're still a long way from like figuring something out in that regard and it's unclear if we ever will because obviously depression is like a composite of many other important things that you need in your life to feel okay and held.
Um but ketamine also it one of the beautiful things about it is that it's very gentle. Uh so we think it may be an interesting we think it's very worthwhile to experiment with using ketamine in these kinds of performance immersive contexts because it can saturate everything with with a little bit of poetry and meaning and and sort of wake up what what's happening without being too overwhelming. So we're just interested we we're interested in exploring that. We don't know how many people will take advantage of this invitation. Obviously, there aren't too many many people do have academy prescriptions these days, but what percentage of people who come to our show are going to have it?
We don't know. Uh but we wanted to put the option out there and just see just see how many people would would take it and if they do, what will that experience be like for them in the show? What will it be like? Yeah, we have a specific ritual designed around that part of the show. Um, so there's going to be a little container within the broader container of the show where that happens and where they'll be guided through a very gentle ritual and then, you know, given a suggested path through the rest of the show that would um harmonize well with their Yeah. It's not just that we're telling people, oh, bring your ketamine, take it whenever.
Like we're it's part of the narrative. there's like, you know, a spiritual drug in the narrative in like the fictional universe and will have like a specific kind of storyline for the ketamine usage. Uh, I I had a I had a non- theatrical question for you. You're both like roughly like 30ish and you're living in New York. I'm curious. I write a lot about Trump and and the, you know, techno fascist kind of thing that's happening. I'm kind of curious how people in your circles and your communities are um if they're responding to it at all or if they're just taking ketamine and dis just disassociating from it.
There's um there's definitely both representation of both for sure. Um, I mean, we have a I'm not sure if we should talk about We have a friend who is kind of like our community like uh Cassandra. Um, he's been warning about this sort of stuff for a while and has been keeping us a breast in a more intimate way and and so there are people in the community basically preparing um for what is potentially coming. Um, some are tuning into that, some are tuning out. It's always like a Yeah, I would say people I would say it's a mixed bag. There are certainly some discussions about how bad things could get and the many different scenarios that could occur and how to prepare for them.
It's these discussions are happening to some extent, but they're not uh they're certainly not overwhelming or or daily occurrences, I would say. Yeah. Or not for everyone. Not for everyone. And you have a little bit of an apocalypse theme in your Holy Mountain show or uh you were talking about threading that in there a bit. A little bit. This is something that like I really like as a theme in general and I think has like a lot of resonance with what's happening right now. Um both with like AGI, with Trump, with like a number of other things. Um, I do I would like we have not unfortunately done like a great job of like weaving that in um to the show, but like on Bet on Love, we had an apocalypse theme and I like the idea of like yeah, bring that in because it feels so like visceral and real and right now and it may be in there a little more than we expect given that Duncan, our star, is going to be improvising quite a lot.
Yeah. And Duncan's skill, like one of his great skills is his ability to pull all these different streams of information from all these different parts of culture at like the psychological level way up to the broad cultural geopolitical level and like condense them all into like a stream of verse and poetry. Fire hose. Yeah. That like that like ties it all together into like and here's what the ritual magic of the moment is. Um so yeah. Yeah, it's something that we want to think a little bit more carefully about, but it's also something that we might weave in much much more deliberately um in hopefully when we do the Müster Rebellion immersive theater show.
Another concept. Another concept that we have. What is Oh, what is that one? By the way, I also wanted to comment on the incredible looking liquor cabinet behind you. Is that what it is? I see these bottles that look like perfumes or potions. I know. It's my roommate. Morgan's roommate is an interior designer. Oh, okay. But they're not just they're not just alcohol, though. It's like perfumes and potions, it looks like. Yeah. Yeah. There are some kind of like decorative vessels. Yeah. Yeah. We have a good little background here. It's nice. Yeah. Um Well, and by the way, you know, I I mean, I do know Jodarorovski a bit.
And you know, when I didn't realize until I read the treatment how completely different from Ollie Mountain this is. I think that, you know, he probably would enjoy learning about it. So, if you want, we could like send him a message or something like that. Yeah, I think we should been we've been thinking it over and, you know, was like, is there an ask here? But I don't I don't think we have much of an ask besides for his blessing. Yeah, the ask is just a blessing maybe. Yeah, we don't. I think that's all you're I think at this point in his, you know, life journey, that's about all you would get.
Yeah. Yeah. That would be huge. It would be really wonderful. I would love I mean I think the framing is like actually more about psycho magic than about Holy Mountain. Holy Mountain is sort of just like the excuse for the film set, but psycho magic is like the real propulsive thematic force behind all this. Yeah. Like and I I fell in love a long time ago with like his book psycho magic um about you know this therapeutic modality that he came up with. So it's a little bit more about that. Yeah. Yeah. Really about the spirit of the of Jodaras, not not just Holy Mountain, but Jodaroski and his character Yodori.
Yeah. Uses Dune psycho magic. Like what he the way that he relates to art. I think we want to relate to art piece the same way that he relates to his pieces. Um well, I think maybe we can sort of like wind down for today. I really appreciate you taking this time to spend some time with me here. Um, and I I feel a little bit disappointed though because I thought we were going to like try to sell tickets for you, but you sold all your tickets. We don't need to do that right now. But h how how do people and I hope you reserved my my ticket because I wasn't able to get get through your thing.
But h how um how can people learn about what you're doing and then follow you and all that stuff? Like do you have like websites and like all that kind of things? We have a website. We technically have a Twitter also. The best thing to do is sign up for our mailing list right now. We'll be we'll be hopefully coming out with like more information about a second run. Yeah. Which you can do on the front page of our website. Classics department. com. Yeah. I can also type it in here. Yeah. Say it again. Classics department. com. Yeah. Classics department. com. Okay, cool. And you have an Instagram also.
That's often a good way for people to We don't have an Instagram yet, but we will. We We're working on it. We don't like Instagram. We don't really Oh, I guess I guess people can also subscribe to your Substack here and you can I think they should sign up for a newsletter. Sign up for a newsletter. Yeah, signing up for the newsletter is the best thing for now. Well, is there anything anything crucially important that I've missed that you wanted to talk about? Not really. Yeah, I don't think so. That's the main thing. Just if if people want to sign up and come to our second run, which is very likely to happen, that would be great.
Amazing. Okay, cool. Well, thanks guys. Thank you for for hanging out and uh I'll I'll send this out to to the world. Thank you, Daniel. Thank you, Daniel.
Automatic transcript, lightly edited for readability. Originally published on the Liminal News channel.