sábado, agosto 31, 2013

Future Feminism

"I've been thinking all day about the moon. Like, is it an accident that women menstruate once a month and that the moon comes once a month? Are other animals synchronized in this way with the moon? You know, my brother works in mental health and he says that there's a lot more hospitalizations and periods of activity during the full moon. It's a known fact in mental health that people are more excitable around the full moon.
"And then, what about the fact that we're made of 70% water? And then the whole ocean reacts to the full moon, right? In a serious way. Everything's ticking around that moon and if we're 70% water I must be having some at least homeopathic relationship with the changing cycles of the moon.
"I can't escape my obsession with the idea that I'm made out of this place, because I was raised to believe that I fundamentally was constituted of spiritual matter that was from somewhere else like Heaven or from a Sky God. Like Gore Vidal talks about Sky Gods and I really picked up that language because in patriarchal monotheisms we all worship a God elsewhere who has a plan for us in a paradise elsewhere: After we die there will be a paradise waiting for us and this place is like a work station where we sort of get all our 'T's crossed and our 'I's dotted before we go off to a real spiritual dimension.
"But I'm a witch. I actually de-baptised myself. And what's great about being transgender is you're born with a natural religion. It applies almost across the board no matter what culture or economic group or nation that you're from you're almost automatically a witch. None of the patriarchal monotheisms will have you. It's very clear that in most of those religions you'd be put to death. In many parts of the world you still are put to death.
"Did you hear what the Pope said a couple years ago on Christmas? He said that the marriage of gays and lesbians was as much a threat to the future of our world as the collapse of the rain forests. [audience laughter] So, that gives you a sense just an inkling to his approach to the homosexual question. [laughs] And that's just the homosexual question. He didn't even address the transgender question. [sarcastically] God knows what we've caused. All sorts of wars and strife all manner of hurt.
"I'm worried that the ecology of the world is collapsing and that I won't have anywhere to be reborn because I actually believe, like, where is any of us going? Where have any of us ever gone? We've come back here in some form. Did you know that whales were once land roaming mammals? And then they crawled back into the ocean trying to find something to eat? And then eventually they got rid of their hands and legs.
"I've been searching and searching for that little bit of my constitution that isn't of this place and I still haven't found it. Every atom of me, every element of me seems to resonate, seems to reflect the great world around me. So, I've come to the conclusion that this is God's best idea that this manifest world is the frontier of his dream, or her dream in my opinion. So, that's just my point of view from where I can start to establish a new way to value the world that I'm a part of. Cause if I'm not heading off to paradise elsewhere when I die then I have more of a vested interest in observing a sustainable relationship with this place.
"It's a very indigenous idea that the Earth is a female, that the Earth menstruates, that the water of the world is the blood of a woman's body and that's what we crawled out of just in the same way that we crawled out of our mother's wombs. It's the most basic idea; any child could come up with it and it's so obvious. And yet we've been straining for these Sky Gods for a couple thousand years now. And I remember praying to God when I was like six years old. I was raised Catholic and I prayed really hard, and I waited and waited to hear that summons. I think in a funny way, a lot of my music I'm listening for that response still.
"I've heard two rumors about the Dalai Lama. One is that he said he wasn't going to be reincarnating because the world was going to be too dangerous and that's probably just a rumor. But then I heard a far more interesting new rumor, which is that the Dalai Lama said the next time he incarnates it will be as a girl, which will be the first in the history of Buddhism. But I think that that is the most revolutionary thing he could possibly do and the most helpful spiritual gesture that he could make. And I'm very interested in the feminization of the deities. I'm very interested in Jesus as a girl. I'm extremely interested in Allah as a woman. And contrary to popular opinion, it's not bad to say that you can say it. I mean you might get a little letter in the mail but I'm probably due a hundred letters in the mail already, so... [laughs]. It's a wonderful day to die.
"But nonetheless, Allah as a woman is a critical threshold and Buddha as a mother is another one because I truly believe that unless we move into feminine systems of governance we don't have a chance on this planet [applause]. And there's no one else that can lead the masses to do that except for, like, the major religious institutions. And I'm someone who's looking for a reason to hope, and for me hope looks like feminine systems of governance being instated in, like, the major religious institutions and throughout corporate and civil life. And it might sound far-fetched, but if you look at your own beliefs, just imagine how quickly you accepted the idea that the ocean is rising and the ecology of our world is collapsing. We can actually imagine that more readily than we can imagine a switch from patriarchal to matriarchal systems of governance a subtle shift in the way our society works.
"It's obviously a very broad statement and of course Sarah Palin exists so don't bother me with that. But, Sarah Palin is working very much within patriarchal systems. I just love that moment when Benazir Bhutto was being interviewed and she just talked about motherhood and daughters and how she wished she'd had done more for the girls of her country. For as problematic as she was, she was an exciting forerunner."

Future Feminism - Antony Hegarty

sexta-feira, agosto 30, 2013

DANCE WITH CAMERA


still from Dance in the Sun, 1953

"a dance so related to camera and cutting that cannot be 'performed' as a unit anywhere..."

Shirley Clarke | Dance in the Sun, 1953 
"Just as dance exists not in the positions the dancer takes but in the movement between the positions, so kinetic film is the movement within and between the shots."

taken from Porter, Jenelle, "Dance With Camera: Body", Dance with Camera, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, 2009

quinta-feira, agosto 29, 2013

Nancy Holt

Sunlight in Sun Tunnels (1976)


Nancy Holt began her artistic career as a photographer and as a video artist. Holt's involvements with photography and camera optics are thought to have influenced her later earthworks, which are "literally seeing devices, fixed points for tracking the positions of the sun, earth and stars." Today Holt is most widely known for her large-scale environmental works, Sun Tunnels and Dark Star Park. She has created site and time-specific environmental works in public places all over the world. Holt has contributed to various publications, which have featured both her written articles and photographs. She has also authored several books. Holt has received five National Endowment for the Arts Fellowships, New York Creative Artist Fellowships, and a Guggenheim Fellowship.

THE FACE & technology

We may call tragicomedy of appearance the fact that the face uncovers only and precisely inasmuch as it hides, and hides to the extent to which it uncovers. In this way, the appearance that ought to have manifested human beings becomes for them instead a resemblance that betrays them and in which they can no longer recognize themselves. Precisely because the face is solely the location of truth, it is also and immediately the location of simulation and of an irreducible impropriety.
- Giorgio Agamben, Means Without Ends.

ARTICLE

I AM ________________________________



Listening Post is an art installation by Mark Hansen and Ben Rubin that culls text fragments in real time from thousands of unrestricted Internet chat rooms, bulletin boards and other public forums. The texts are read (or sung) by a voice synthesizer, and simultaneously displayed across a suspended grid of more than two hundred small electronic screens.

quinta-feira, agosto 22, 2013

Mediated Space | A short writing on the interstitial space of virtuality



(Based on Wrap Up Session of the “MetaAcademy@Bates” - online lab exploring embodiment and co-creation on the internet using Nancy Stark Smith’s Underscore and other moving ideas).

#Re-Definition(s)

“…we have to redefine and explore what a lot of the terminology means in this space.” 
-- Josephine Dorado
The sensorial fabric built between collaborators when performing/experimenting together through the mediated space raises awareness to those experimenting to the metaphysical aura that in the ends tends to define the experience and the results of such act.



Following on Josephine Dorado’s words, at one point in the video of the Wrap-Up session of this year’s Meta Academy edition at Bates College following Nancy Stark’s Underscore, this experience as many others that I’ve been fortunate to follow and be part of in the last two years ask for a re-definition of concepts used to describe sensations within the same shared physical space, an authenticity that exists even though “Touch” and “Space” don’t represent a direct action or feeling of presence in the same time and space. This only, transports us to a plane where the digital world exists as an aura from the physical world, and therefore speaking of it by referring to the already established notions of exteroception the tendency is to describe it as an outer body experience, when in fact the redefinition of those terms, or the act of working within the mediated space relies on a process of Proprioception, where one perceives the “other” by an internal recognition of our own movement and measures the strength and effort applied by comparison, establishing a proximity based on trust, just like we would do if sharing the same time-zone, place and studio. At this point touch itself exists when both cameras are on and sending information to each other, allowing whoever is behind them take advantage from that in any kind of format. That’s the power of music, we feel connected although we don’t feel physically touched by it.

The problem exists when the artifact, the physicality of such an experience exists only as digital and vanishes, or is captured, but the same happens on real time performances, that exist only between the moment they start until the moment they finish. After that is just a reproduction of that action, lived and experienced again if performed live or it exists mediated by any kind of registration if done.




The possibility of solving and transforming that into any kind of artifact is by using that encounter and transform it from what it is originally, through any kind of real time processing format (motion capture, data analysis, sound manipulation, etc.) other than that we stay in the plane of transmedia by not touching the original artifact (nowadays allowed by real time capturing, like the application used in this case, Google Hangouts) and more and more spectators demand that raw aspect of the work, Raw as Real, because that already has been re-defined.

segunda-feira, agosto 19, 2013

B SIDES: Alienated soul

Alienated soul
Ghost in the mirror
On the telephone
Empty body flashing in the water
I'm a boy in the ocean

Alienated soul
Can you hear me?
Hate eyes before you scare me
Look at me
And open closed eyes
It's your boy in the ocean

For i cry into this ocean
Hate eyes hear me
Bless me and go to a mountain to see my morning boy

Closed eyes open
Take me home alienated soul
I'm a boy in the bushes
Take me home
Alienated soul its your boy in the ocean

I'm a boy in the ocean

domingo, agosto 18, 2013

in Edinburgh


Still images of Nam June Paik's various videos. Courtesy of Nam June Paik Art Center Video Archives,
© Nam June Paik Estate.

No other artist has had greater influence on the use of technology in art than Nam June Paik; he prophesied changes that would shape the ideas, 'Participation TV,' 'Random Access Information,' and 'Video Commune.' Transmitted Live: Nam June Paik Resounds celebrates the 50th anniversary of Paik's first solo exhibition, Exposition of Music – Electronic Television (Wuppertal, 1963), when the artist brought television in the realm of art for the first time, presenting it as a tactile and multisensory medium. As part of the countercultural movements of the 1960s, Paik believed that artists should humanise technology, get their 'fingers in and tear away the wall' of the establishment. Paik, a trained musician, treated technology as a material part of his repertoire, which later expanded to include video, satellite transmissions, robots and lasers.

More here

Edinburgh International Festival 2013

FÁTIMA / PORTUGAL





ALTAR PIECE

terça-feira, agosto 06, 2013

#warholFigment

Livestream of Warhol's grave


I never understood why when you died, you didn’t just vanish, and everything could just keep going on the way it was only you just wouldn’t be there. I always thought I’d like my own tombstone to be blank. No epitaph and no name.

Well, actually, I’d like it to say “figment.”
-- Andy Warhol

read more here
watch live 24/7 here

new ways of thinking

Not only we are talking about submitting completely to the technological world, we are increasingly referring to a wider perspective on how the it affects the way we bond, engage and produce.


We should emphasize at this point that Moving without a Body should not be considered a book about motion capture, or about movement technology in general. While focusing on some examples of the ways in which dancers and choreographers have experimented with technology in various times, it does so only in order to use these examples as points of departure for a more abstract philosophical discussion, and for a consideration of the wider role this form of art can have in the production of new modes of thought today.

For further reading: Moving without a Body

Gold and silver on indigo-dyed parchment

 
MET Museum: 
Folio from the "Blue Qur'an," Fatimid period (909–1171), 
second half of 9th–mid-10th century | Tunisia, probably Qairawan
Gold and silver on indigo-dyed parchment

segunda-feira, agosto 05, 2013

...via Au Suivant

Connie pondered this.
'Ah, yes, but you never have anything to do with them!' she said.
'I? What am I doing but talking perfectly sincerely to a woman at this moment?'
'Yes, talking...'
'And what more could I do if you were a man, than talk perfectly sincerely to you?'
'Nothing perhaps. But a woman...'
'A woman wants you to like her and talk to her, and at the same time love her and desire her; and it seems to me the two things are mutually exclusive.'
'But they shouldn't be!'
'No doubt water ought not to be so wet as it is; it overdoes it in wetness. But there it is! I like women and talk to them, and therefore I don't love them and desire them. The two things don't happen at the same time in me.'
'I think they ought to.'
'All right. The fact that things ought to be something else than what they are, is not my department.
Connie considered this. 'It isn't true,' she said. 'Men can love women and talk to them. I don't see how they can love them without talking, and being friendly and intimate. How can they?'
'Well,' he said, 'I don't know. What's the use of my generalizing? I only know my own case. I like women, but I don't desire them. I like talking to them; but talking to them, though it makes me intimate in one direction, sets me poles apart from them as far as kissing is concerned. So there you are! But don't take me as a general example, probably I'm just a special case: one of the men who like women, but don't love women, and even hate them if they force me into a pretence of love, or an entangled appearance.
'But doesn't it make you sad?'
'Why should it? Not a bit! I look at Charlie May, and the rest of the men who have affairs...No, I don't envy them a bit! If fate sent me a woman I wanted, well and good. Since I don't know any woman I want, and never see one...why, I presume I'm cold, and really like some women very much.'
'Do you like me?'
'Very much! And you see there's no question of kissing between us, is there?'
'None at all!' said Connie. 'But oughtn't there to be?'

Lady Chatterley's Lover
D H Lawrence

via Au Suivant

I am sitting in a room different from the one you are in now.



Alvin Lucier, recorded voice

In this fascinating exploration of acoustical phenomena, Alvin Lucier slips from the domain of language to that of music in the course of 40 minutes and 32 repetitions of a simple paragraph of text.

In I am sitting in a room, several sentences of recorded speech are simultaneously played back into a room and re-recorded there many times. As the repetitive process continues, those sounds common to the original spoken statement and those implied by the structural dimensions of the room are reinforced. The others are gradually eliminated. The space acts as a filter; the speech is transformed into pure sound. All the recorded segments are spliced together in the order in which they were made and constitute the work.

I am sitting in a room was composed in 1970 and was first performed at the Guggenheim Museum in New York City that same year. A second version was made in 1972 to accompany the dance, Dune, performed by the Viola Farber Dance Company at the Brooklyn Academy of Music. Since that time, numerous versions of this composition have been realized in various ways by other musicians, including a Swedish radio broadcast version.

This recording was made by Alvin Lucier on October 29th and 31st, 1980, in the living room of his home in Middletown, CT. The material was recorded on a Nagra tape recorder with an Electro-Voice 635 dynamic microphone and played back on one channel of a Revox A77 tape recorder, Dynaco amplifier and a KLH Model Six loudspeaker. It consists of thirty-two generations of Alvin Lucier's speech and was made expressly for Lovely Music, Ltd.

Seguidores