Sunday, July 27, 2014

Thursday, July 17, 2014

Monday, July 14, 2014

list poem // jul 14 14

-->
1]   HIS VENTRILOQUIST BODY


2]   HIS TWINE STRETCHED FROM ONE TO ANOTHER              

https://archive.org/details/firstpaperssur00bret

3]   CUT FROM CODED SQUARES

http://money.cnn.com/2013/09/09/technology/wikileaks-server/

4] SPIRIT TONGUES

http://www.nytimes.com/2011/03/01/movies/01russell.html

5]   TIME STREAKS LOST IN JUNGLE

6]   LANGUAGE OF FLOWERS GROWS FANGS                                (BATAILLE)

7]   LAFF TRAX

8]   MOUTHS OR HOLLOW EYES

9]   VOICES IN THE SQUARE

10] FOR EXAMPLE AS A GHOST                                                                  (NIETZCHE, GAY SCIENCE sec 365)

11] PRACTICING DEATHS

12] STONES FOUND ON BEACH      [Stone Found on a Beach, Documents 7, 1929, Meret Oppenheim, Stone Woman, 1938]

13] AUTO-SOPHISTICATION MACHINES

http://www.labtec-cs.net/docs/FSA-PFA_Technopolitic-sophistication-and-new-dichotomies%281%29.pdf

14] WILD BEASTS IN CAVES


15] THINGS UNDER THE SUN                     (CROWLEY, 777 – things under the sun which are called solary)

http://hermetic.com/crowley/libers/lib777.html

16]      AFTER CEASE TO EXIST




Wednesday, July 9, 2014

Saturday, June 28, 2014

#1 - #17


An abrupt new sound
in the square
speaking tongues.
The noise,
an eye.
His twine stretched
from one to other.
This part
cut
cut from
another part.
Across the square
a dog's body,
his ventriloquist.
My mouth
addresses
my eye.

Thursday, June 26, 2014

Tuesday, June 10, 2014

Thursday, June 5, 2014

Sunday, June 1, 2014

Wednesday, May 21, 2014

Tuesday, May 13, 2014

Thursday, May 1, 2014

n a t u h

Now At The Uncertain Hour from Wes Kline on Vimeo.

Now At The Uncertain Hour. Video shot and edited for a play in which I am doing sound and music design. Opens May 9 at Edwards Opera House, Edwards, NY.

Saturday, April 19, 2014

In fact, I am but a relay myself








Pierre Schaeffer and Pierre Henry's potentiomètre d'espace. The performer would control various dynamics of sound by modifying the body between the rings.

Body of work


I have been working on sound and video design for the production Corpus, written by Canadian playwright Darrah Teitel, which opens May 1 in Ottawa. If you are around the Ottawa area you should stop by.

Monday, April 14, 2014

settings



Malcolm Clarke with the Synthi 100 via the RADIOPHONIC GALLERY on whitefiles.org. "Caption: It's 1974 and a bearded and long-haired Malcolm Clarke intently studies the settings of the EMS 'Delaware' synthesiser, located at this time in Room 10. The small supplementary mixer at the bottom was constructed by Richard-Yeoman Clark. The box on top of the Delaware contains a standard BBC Peak Programme Meter (PPM)."

 

Sol Lewitt wall drawing number 49 (Diagram and Certificate).

Saturday, April 12, 2014

Thursday, April 10, 2014

Friday, April 4, 2014

Tuesday, February 25, 2014

everything is being


Louis Althusser, 1978.



You speak of “disgust”; I hear this word around me from among the best of them. And yet here it’s not as it is in your country, but it’s the same word. It’s the word that openly says that we can no longer find our place in all this shit and that it’s vain to look for it, for all places are carried along by the insane course of things. We can no longer bathe at all in a river. Unless you’re a picket planted in the current that silently holds on. To a bit of terra firma. The important thing is to find this bit of earth beneath the waters. After all, it’s the “shaking-up of the world” of Montaigne who, when it comes to conjunctures, saw quite a few of all kinds. But the book is already written; you have to find something else.

- Althusser, letter to Merab, 1978.

Saturday, February 8, 2014

Work in progress #######

There is a child, a child inside of her mother, a child listening, listening to the echo of her own hand pushing through water. It is quiet, but not still. Her ears forget to listen, to her mother's heartbeat, to her digestion, to her blood. She decides that she is a plant, inside an animal, growing towards....





####





Thursday, January 2, 2014

"House" by Hank Lazer



           pad  pod  site
preparing a place
a launching pad
              a landing site
small birds  chickadees
finches  sparrows  ride
out arctic wind
bobbing on suspended
bird houses hung
              from pine branches
small words as
on an ever
              moving sea we
live & breathe
riding upon this
              language house a
moving place that
feeds; carries


Thursday, July 11, 2013

Holding the Great Ear-horn

We operate under the assumption that the photo-object forms a relation with the being-present-as-eventThis assumption then contributes to a learned history of object-events, diffuse throughout culture, simultaneously and paradoxically both representing and creating culture.

This assumption, in semiotic terms, the indexical nature of the photograph, forms and pervades all of our assumptions regarding representation.  This assumption needs to be interrogated further, as archeology suggests new understandings of the nature of the transmission of culture.

An approach that seems to make sense for a discussion of the photograph, and its transmission of culture is a combination of evolutionary and diffusionist approaches.[1]  It seems most useful to think of the object in terms of its relation to time within the cultural context.  Wissler’s age-area hypothesis notes (bringing together diffusionist and evolutionary paradigms) that objects in a culture tend to move from the center outward, with the oldest objects being located at the periphery.  In this model, the evolutionary leaps tend to happen in the center of the culture, and then diffuse throughout the periphery. At the periphery of culture, then, are the institutions, where normative behaviours and ideologies are located, as objects/cultural material (in our examples, the photo-objects and their implied contexts) transmitted and located themselves.

The problem, of course, with the photograph is that it folds itself back into culture in ways that other historical objects do not, reappearing and redeploying itself as an indicator of power relations.  The photograph functions as a visual text itself, its veracity shored up by its history as index, and also situates itself within culture through the context in which it appears.  This relates directly, of course, to how we encounter the art-object (and the context in which it is placed as it is photographed).   One doesn’t have to look any further than ArtForum to encounter a particular semiotic of art display, with art being displayed in clean, white, well-lit rooms, organized in a rational synthesis of design and educational strategies.  The diffusionist function of art has been bolstered by the presence of the photograph, which states (through a circular logic):  this is how things should look when one looks at things.  This awareness of looking and its reproduction (in cleanly designed magazines, monographs, etc.) has led to a transformation of the gallery space, from salon to “white cube” to an ostensibly newly hybridized (but no less ideologically driven) space.

Problems in the representation of artwork parallel the questions of archeological representation suggested by Stephanie Moser in “Archeological Representation.”[2]  Moser’s semiotic read of the work of representation conjured the question of objects being seen in contexts.  She notes, “archeological representations ‘make meaning’ because they employ devices that are not used in written and verbal communication.  These devices can be described as conventions that appeal to our sense of reasoning in ways that text cannot.”[3] We have seen this critiqued in ethnography and film; Michael Taussig writes of both in his discussion of Werner Herzog’s film Fitzcarraldo:

Then what of Werner Herzog’s delirious effort in his film Fitcarraldo, set in the early twentieth century Upper Amazonian rubber boom and constructed around the fetish of the photograph, so tenaciously, so awkwardly, clutched by Fitcarraldo, the visionary, its great ear-horn emerging from under the armpit of his dirty white suit, Caruso flooding the forests and rivers, the Indians amazed as Old Europe rains its ecstatic art form upon them.  Bellowing opera from the ship’s prow, it is the great ear-trumpet of the phonograph, an orchid of technology in the thick forests of the primitive, that cleaves the waters and holds the tawny Indians at bay as the patched-up river-steamer wends its way into this South American heart of darkness.[4]

The “delirious” re-contextualizing of the art-object (in this example both Caruso and the phonograph) serves as an site of power.  Therefore, it is not merely the culture-object which is moving/diffusing throughout cultures, but it is the power structures and Western ideologies which are being attached to the object.  We see this same recontextualizing in the contemporary museum experience, in which the culture-object is presented less as an object, and more as a force that “holds” us (in the utopic parlance of the visual designer), and more often than not “holds us…at bay."




[1]I am most interested in Steward’s work suggesting a distinction between a “cultural core” determined by environment and evolution, and the “total culture”, which contains elements of culture susceptible to diffusion (Barnard, 56).
[2] Moser, Stephanie.  “Archeological Representation,” in Archeological Theory Today.  Ian Hodder, Ed. Pp. 266.
[3] Ibid.  pp 268-9.
[4] Taussig, Michael.  Mimesis and Alterity.  Pp. 203.  New York:  Routledge, 1993.

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Saturday, July 6, 2013

torus


from "On Certainty" by Ludwig Wittgenstein





9.  Now do I, in the course of my life, make sure I know that here is a hand - my own hand, that is?