5.12.2009

eight,seven,then


It is holes
Not more blocks
We’ll need





Shift shapes
Proper
Mutilated





Returns Quiet
Lingers unseeing
Leaves





What’s that? An owl
In a
Wasp’s nest





Rustles Quiet
That Patchen
Leaves





What crises
Have you
To Speak 





Borrowing
Various
Forms





How you
When Sleeping hold
Your hands





Excess then Lack 
Caring 
Resound





When you
Are sleeping hands
 Holding





Forming  
Different
Memory


One Mind speaks
Of forgetting
One





Sounding
Rustle Year Month,
space,    Time





Arbitrary
Falls size with 
That





Rustle Sounding
Oblique
Night Day





Figured
Your form beside
One more








pictures?

Hello! I am regretfully missing class today and hope that you guys post pictures/podcasts etc. - had been looking forward to seeing everyone's work. I am including a poem inspired by our class discussions.

Rachel

5.05.2009

Some sound and Environment Stuffs

The Silophone:
Your sound projected into an abandoned silo, and then streamed back to you over the internets.

http://www.silophone.net/


But you need real player. :(


Telemegaphone:











A large megaphone projected to a town in Norway. Call in and they can hear your message but its closed now for deer season. The Norwegians need their deer people

http://www.unsworn.org/telemegaphone/index.php


And if you like Environment, The New York Society for Acoustic Ecology:
A podcast show about our acoustic world and how we function

http://www.nyacousticecology.org/

4.22.2009

Who wants to take a sentimental journey?



i have some beginning ideas for the class exhibit and i thought i'd throw up a preliminary sketch and see if people were interested in adding to it. i'm really interested in shifters. If we partition the room as people suggested, could we create a journey on which a traveler embarks and s/he can document h/er/is journey through a travelogue? How can we shift the meaning and referent of "I" "you" "here" "there" physically in the room--marking time and space? Could Morris be inspiration? What say YOUs?

4.21.2009

On Visibility

I'm excited that i received the book that accompanied a Theresa Hak Kyung Cha retrospective. It's serendipitous that I received this book after reading Calvino's "Visibility" essay. At times, his essay sounds so reductive, and so not "for the millennium." He reduces the imaginative process into a banal binary that either "starts with the word and arrives at the visual image," or "starts with the visual image and arrives at its verbal expression (83)." What about the word as visual image?

Enter Theresa Hak Kyung Cha's breaks it down in her text and photo piece, "Commentaire":

COMME COMMENT
COMMENT TAIRE TEAR



In Cha's piece, we are witness to a scene "taking place before our eyes (83)". We are witness to the scene of the word--the seen word.

Trinh Minh Ha translates best:

"Comment taire? The question raised is not simply how to keep the silence, to stay quiet or to hold one's tongue, but how not to say while saying. [...] Commentaire offers, in its spatial and linear layout of the words, the possibility of a comment or a commentary that includes a comment taire, that is, a comment/how to and a taire/silence, be silent. [...] Engaging language as simultaneously seen and heard, her writing plays up the arbitrary relation between the sound of a word, its visual spelling, its multiple referents, and its foreign mate in translation (Trinh 35)."

Calvino describes words "that accumulate on the page" as being "infinite but more easily controlled, less refractory to formulation (97)." How would he read words on the body? Could Cha's Aveugle Voix be the class segue into performance? See it here. Hear it here. Can words really be controlled so easily? Can words be managed like the citizens of Jackie Chan's dream of a controlled China? Can words let us see the images of the imagination with less refraction than a curved lens? Or, do words still fail?

4.20.2009

on silence

since our class my mind keeps looping back to the conversation on silence. involuntarily so. a la a song worm, so perhaps the blame on the following splatter of unfiltered thought should be placed on my neurons and not on my conscious person. but i agree with julia. that silence is impossible for us humans. i remember reading once that even when we read, the tongue, the throat, it moves. the muscles undulate just as they do when we speak aloud; there is no difference. and always, the scientists say, there is noise, even if it is beyond our decibel range of hearing. even in space, there is noise. there is sound. so then what is it we attempt to achieve when we attempt to offset the noise, the busy, the too much? it is not silence, no. not only because it is impossible to achieve, but because it is too austere. silence is the ultimate death, and we (for the most part?) do not attempt to achieve death. no, rather it is quiet. calm. peace. and these things -- quiet, peace, calm -- these are very different from silence. it is not a difference in semantics. it is wholly emotionally, spiritually, physically and biologically different. atoms still move, our brains still function, our breath still in- and exhaled. there is still sound, but it is peaceful, it is calm, it is quiet. therefore the question of silence and noise -- unless one is a nihilist in the purest and truest sense of the word -- is not the question to consider. the question of "how to achieve silence" is irrelevant. the question when presented regarding the absence of the bustle, hectic, frantic, is to ask "how does one achieve quiet?" and in response to this, well, i do not exactly have an answer. no no. simply put. i do not have any answer. but i think the attempt to achieve it through any medium, any means, is one that often -- though not always -- leads to the generation of human activity. not just via art, but everything. even if that peace is a brief period, a rest, a point in time and space that inevitably makes us at the same time aware that there is more to seek and understand. the rest is not a resolution, but in fact a lead to the next moment of activity. at the same time, it is not necessarily a reaction/response, an anticipation, or an antecedent. it is its own space in time which allows us to recoup, rethink, re-acclimate, reassess. it does not ask us to move forward, backward, up, down, around. it makes no demands. it simply is. WE decide what to do next. WE who, in these periods of inertia, decide on our next move, to build and push our momentum to the next point. and no, there is no silence in that. it can also be difficult to endure, stressful -- but that does not come from quiet, it comes from us and what we choose to allow into the quiet. or not allow into it. it is permission to create our own space/time. it is the transference of responsibility on our individual selves to recreate space/time. and there is plenty of sound, music, noise, energy, movement in that. but it is different from more ostentatious, practical, explicable ways of moving in space and time. it is connected, but at the same time different and in a category of its own. and so it is "quiet" rather than silence, that we create or attempt to create at times in our work, in our lives. how ironic. the amount of noise/energy necessary for creating quiet. pathetic? funny? both? a "wah-ha" if you will?

just some thoughts... what are yours?

p.s. this is kyoung. i am listed as "xyz" because that's what i called my account when first setting up the blog. i didn't know that i wouldn't be allowed to change my id until post-facto. so sorry if the "posted by" confuses!

p.p.s. in response to pouya's post on "left, right" thinking, check out jill bolte taylor's ted conference presentation called "stroke of insight". powerful. http://www.ted.com/index.php/talks/jill_bolte_taylor_s_powerful_stroke_of_insight.html