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" ... Oouolyamtelbellembem is Madere’s conception of dreamtime. It is a sequence of images, actions and objects with costumes, props and soundtrack that document Madere’s personal knowledge quest. It is about all those individualistic and sometimes peculiar things that interest him. It simultaneously reads like an anthropological field recording of a secret ceremony or a short, baroque fantasy made collaboratively by Federico Fellini (Juliet of the Spirits, 1965) and George Miller (Mad Max, 1979). But Oouolyamtelbellembem is not one thing; it is everything in the moment that is seen. There is no beginning, there is no end, and each rewatching of the opera is transformative. As Madere puts it, “The events portrayed in each opera [two sequels are forthcoming] . . . are all just blips along a very long timeline toward all matter and thought forms becoming indistinguishable from one another.” Madere says, “Ecstatic emotional states—period—always appeal to me because they obliterate the emotion.” The manifestation of Oouolyamtelbellembem is beauty itself. ... "