This part contains a description of the background for the work and the research, how did the group come together and how did it sustain itself for the period of the work. After that I depict what we intended to do with Oops! the plan I wrote before we started to work and during the practice.

Through this theoretical background I try to make sense and formulate my idea of lapse as a fallacy, micro collapse and minor event of the every day, a momentary state of dealing with the possibility of becoming both, a joke or a failure. The concept of Oops! relates mainly to Giorgio Agamben's idea of parody and it's coexistence with fiction, Paolo Virno's concept of joke as a diagram for innovatory action in public, Félix Guattari's minor notions of lapse in Chaosmosis, and Richard's Schechner's idea of dislocation (not-not-me) relating again with Agamben's concept of remnant. In the written part of my thesis I write about the conceptual base for the Oops! project. It disrupts aesthetics, any order and any structure of representation and meaning. It always disrupts the consistency of emotions, production, play, drama and interpretation. Letting go of one's own desire to look good. Letting go of the constant creation of my face, body and personality as something to be looked at. Does a collapse produce stiffening or a reinvention of the norm? I see in a lapse an everyday practice of letting go of self-control. As an event producer in an age of commodification of time, experience and event I decided to play with this structure and to invite a lapsus as a moment of disruption to see how do we get out from there. The main reason to initiate this research was to try out a process that would embrace a condition of fuzzy, fractalized and flexible precarious work structure in cognitive production with its possible collapses. Methods and tools used in this practice were: lapse, parody, mockery, inconsistency, reanimation and personal resistance.

We were working through combining mechanical and organic processes of dialogue, exchange and production. I asked people who share my affection for moments of lapse or ones to whom those moments happen frequently to join the project. I chose to do research, not through affirmation of any exact alternative or potentiality of alternative, but by inhabiting a state of disruption. I chose lapsus for its sensual-emotional complexity and immediacy, to be an occasion for alternatives in self-organizing and collective co-emergence. We used lapsus to experiment with cooperation, which is not based on sympathy or consensus. The entire process was circling around a situation of lapsus (a lapse, slip, faux pas). It was also staged as a performance production and presented at the Theatre Academy in November 2010. Oops! Sorry, later just Oops! was a group practice of micro-events and animation for 4 persons that took place in 2009 in the public spaces of Helsinki.

Public oops