24
" What if you were to fight fire with fire, money with money, belief with belief? Would it be possible to get rich in some way that, at the same time, could decimate the Right, disgrace power? To form a religion that could undermine their strength? What business plan, what church, could set the foundations for such an attack? (...) A church that is also a business. Because religion is like a fantasy, a dream, and maybe money is also a kind of fantasy, they belong together. So then a religion in the form of a dream that hurtles forward towards the future, because money is an energy stored away for what comes next, but also a dream for now, because there's no living without cash. A dream for the future and a dream for now. "
― Jacob Wren , Polyamorous Love Song
27
" There are no individual solutions to collective problems. Nonetheless, it is individuals who must come together and figure out what to do. In all of this, there is the unaddressed question of leadership. The anarchist in me genuinely believes rotating leadership is a solution: people take turns taking the lead in the areas of their greatest competence, interest, or desire. Another similar collaborative idea might be: best idea wins. But art is so subjective, and for five different people five different ideas might each seem best. It has always been my thinking that if someone in the group feels strongly that we should do something, then we should do it, their strong desire shouldn’t be watered or sanded down by the democratic entropy of the group. I want the projects to be open enough to welcome the strongest impulses of each of the participants. This is my ideal, and like all ideals it is something I often fall short of achieving. Perhaps this ideal is not even best for every collaborative situation. In a sense, it is just another way of saying that I want to work in ways that are deeply collaborative while at the same time keeping our most intense individual artistic differences more alive than alive. "
― Jacob Wren , Polyamorous Love Song
28
" I often say I don’t necessarily relate to people who make art, performance, or literature, but I do relate to people who make art, performance, and literature who think of quitting every fifteen seconds. Those are really my people. I call us the boy-who-cried-wolf set, since we always announce we’re quitting but never do, and therefore no one believes us anymore. It seems to me that anyone who works in the arts today and doesn’t have serious, ongoing doubts as to the validity or efficacy of the situation is not facing all of the current, inherent problems and questions with open eyes. "
― Jacob Wren , Polyamorous Love Song
30
" I went to the theatre and what I saw hinted at my desires but mainly felt like their frustrating opposite. If in conventional theatre you had costumes, characters, acting, scripted narrative, piped-in music, and artifice, instead I wanted people dressed in their normal clothing, being themselves, walking a tightrope between structure and spontaneity, music we loved played on vinyl, CDs, or with instruments, anything and everything that might bring us just a little bit closer to authenticity or reality. There was a kind of theatre that already existed and a kind of theatre that didn’t yet exist, might never exist, and I knew which side I was on. "
― Jacob Wren , Polyamorous Love Song