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

4.19.2009

Imagination vs. Calculation


This recent article (see link) reviews Daniel Pink's  writing, on the right vs. left brain thinking. It is somewhat interesting to see a global analysis on how the socio-political landscape as well as the development of the third world , as well as industrialized nations is related to a need for more "creatIve imagination"rather than more scientific and technical progress. However, from a different perspective Pink's suggestions,  on a different level, lead to an even further separation of what defines our societies, since the very day to day tasks of a third world nation is predicted to involve more task oriented  processes, while in industrialized nations - or more specifically  the United States, may involve more creative thinking.  Visual arts, writing, performing arts, all are bound to be effected this emphasis, as predicted in MFAs becoming more in demand than MSCs.  It is not far fetched on this path that authorship and production may in fact develop a geographic definition.

Hence, to take a leap of imagination, one may ask: are we destined to become two different species, Authors and Producers 

4.01.2009

Three D spaces

i saw this the other day and it made me think of our class discussion concerning 3-d text.  It also has a strange connection to Kate's parade idea.  Personally what i find most amazing is how fluorescent those Zoo Balances are.
 

0aabirkkahuause.jpg
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3.30.2009

Literation Levitation

This is Jeff Koons' energizer bunny inflatable being towed through the Macy's Thanksgiving Day Parade:
And this is Blockhead, the (relatively tame) Paul McCarthy inflatable sculpture outside of the Tate Modern in London:





























And one more McCarthy, inflatable pigs...


You can also google his Santa with butt-plug piece, but that's a bronze and I'm really interested in inflatables.

You may be wondering what this has to do with our class. I've been sort of inspired by inflatables and parades lately. There is something about the scale and/or levitation of these pieces that seems to create the monolithic experience (as we were previously talking about) that is so out of scale with the human body, and yet. They are still basically over-blown (ha!) balloons. The juxtaposition between the sublime quality of the monolith and the carnivalesque sensibility of the balloon really excites me. And then, in addition, the element of parade that I think that inflatables beg for is also interesting; the participation, the idea of walking art like you might walk a dog, but a really really big floating dog...

What I haven't seen is giant inflatable text. And that's sort of what I'd like to do...a sentence parade. Because then each letter is also an object, and the composition of the words, and of the sentences, becomes a slippery sort of project. You experience the letters one by one as monolithic objects, but then also there is a developing sense of meaning or comprehensibility that the monolith initially seems antagonistic toward. That tension makes me excited, and it also seems like CalArts could really use a balloon parade because it is starting to get warm and nice outside.

I don't know how to make giant inflatables, but I think it could be interesting to learn. I don't know what the sentence should be. Kristin suggested "The sentence does not exist" and I got pretty excited about it, because I thought it was funny and smart and just the right sort of familiar and yet obtuse. But can we workshop some alternate sentences? Anyone want to help me make a letter parade?

Ok. Hope everyone's spring break was lighter than air.

Updates!
There was some interest in the discussion of how to make inflatables, and here is the resource that I was looking at:
AKAirways
AKAirways is a very open-source community. Their inflatables are hung, rather than floated, so I think we'd have to employ some trial-and-error experimenting to figure out how to levitate them.

If I brought in some sheet plastic and a fan, might we be interested in trying to make a very simple circle inflatable in class next week?


3.24.2009

Christian Robert-Tissot

just thought i would pass this along.  this guy seems to be working with language in a way that is slightly different (in both material and context) from some of the other artists we have been looking at (ie. weiner and holzer).  enjoy the break!





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3.17.2009

Rebus Shmebus! eye + heart + ewe!

Thinking about our discussion in class (which ended like 20 minutes ago) about the way in which text as object and when does text become object, and the act of writing and author is eliminated for sculpting and sculptor (for example), as in cubist paintings, illuminated texts, and the Chair. In all these instances I viewed it as being not as writing, but as re-writing, which in essence is writing, sort of.

If we take the example of memory, which Tom brought up, if I may partake in a proof of sorts, or one of those stupid SAT analogy things. If we see memory as cerebral narrative, that in our minds, when we recall something we are "writing" into the neurons of our brains the narrative of a particular memory, then in fact we are constantly re-writing the narrative, as we discussed today the consistent inconsistency of memory. Even if we verbalize or record the memory in the same manner each time we recall it (details such as it was day, the bike was red, he was tall) the re-compiling of the memory in our brains, is still different each time we remember something. The more it is remembered the less authentic the memory becomes from the actual original event. If in fact a text is taken and re worked into a different context, a definition rewritten onto a wall next to a chair, magazine cut outs pasted onto a canvas a la ransom notes, or "scribes" basically re-writing what God has spoken, it indeed is, to me, a particular way of rewriting. And in this sense, like memory, rewriting is just as generated as writing is.

In addition, text put in different contexts, often are still related to, the phenomenological observer as text, the consciousness of text as still text remains. Now however, there as extra step of interpretation for the viewer. Not only is there still the aural quality in the brain, the reading of the text inside the brain, but also a human impuse to decode. Like in Rima's blog post of purloined letters, I think that any artwork which "destroys" text or reformats it, gives way to the human impulse of trying to reform it, to find codes inside of the destroyed text. Perhaps that was not the original intention of, let's say Tom's shorthand piece, but it is a human impulse to find text inside of text that looks wonky.

Language has to do with the structure of codes, and the way in which different symbols interact within a specific cultural context. Etching or drawing heiroglyphics into a stone slab or papyrus is in fact still writing, but drawing and writing. The images relate to a particular symbol, sound, or idea that, what I believe happens in every language, can only be completely understood by the culture of which is was created and evolved in. This "text" is about the relationship between image and text, and the content is directly related to the image. A wonky textual art piece is an evolved hieroglyph of the English alphabet.

Like....Rebus! These refer to either those images that sound like words that make a sentence, or those puzzles where text turns into image and back into text:







Fun! Here's more, a website for kids!
http://kids.niehs.nih.gov/braintpics.htm












And here's something extra. My brother's CV website which plays with language a bit. Doesn't really pertain to any conversation we've had (maybe internet "space") but I just thought his love for language and whimsy turned his science minded website into a language text art piece of sorts.

3.10.2009

Label Gazing

Investigating identity through labeling. Literally. Adjectives on Avery labels on Post-its on us. Sensitivity training gone wrong or soooooo right. A project spawned from Erica J.s' consideration of labeling of the Obamas and the McCains.

1) Send Kate 15 adjectives that define yourself by Saturday.
2) Kate will print out adjectives on labels.
3) We'll transfer labels to post-its in class a la assembly-line.
4) Tag each other? See what happens? Other ideas?

Objection: Purloined Letters

I was thinking about Tom's shorthand pieces and wondering about the hidden meanings behind the text. Also, last week when we did the erasure activity, there was talk about how when the text became obscured on the pages they somehow transformed into being "text as object." I wondered if Tom considered his shorthand pieces "appropriated text," even though the legibility and the meaning of the text was obscured. What makes text become an object? When its legibility is obscured? It made me think of the idea of the purloined letter, where the idea of the letter with unknown text takes precedence over the actual meaning of the text in it. Is the way we view the shorthand pieces markedly different because we know that there is hidden meaning in the shorthand text used to make the piece? If it were a piece made of multiple curved lines, how would we view the piece differently?

3.09.2009

lawrence weiner: language as material (itself?)

hello all,
thinking about our in-class discussion on materiality the other day and noticing the lawrence weiner link on the wiki, i decided to embed this short video which, i think, nicely illustrates weiner's practice in relation to the materials he engages with. he is working in a discursive space where materials--language, paint, museum walls, etc--are used to both define that space as well as dissolve that which defines the space. he aims to collapse the art object ("a-r-t"[language]) and art material (paint, wall, floor, language, etc.) into one complicated loop of circular fun in a way that plays with the importance of the material art object's relational status.

it is also worth noting that L.W. has done several "art" books which consist only of words on a page (yet which somehow escape being labeled poetry [not even concrete poetry!] or even writing!) our library has several of these in the art stacks and they are all worth checking out (with your eyes not your id since artist stacks are reserve only:). I wish i had cough syrup as an excuse for that horrible joke but i don't so i will just see you all in class tomorrow.

3.03.2009

Fwhoie-co

I wonder how Foucault would qualify the author-function of his own "works." Does he consider his body of work to demonstrate an initiation of multiple discourses? How close does Foucault stand to the "second self" of the "I" in "What is an Author?" Foucault was so prolific with his writings that it's hard not to think that he wasn't struggling against death by making sure his name appeared alongside all his writings before he died. I'm curious that the only direct reference he makes to himself, as an author (or would he have called it as a "functioning author") is when he discusses his intentions for The Order of Things. Reading Foucault after reading Barthes' "The Death of the Author," I start to think that it's irrelevant for Foucault to try to explain his intentions. In my reading of his essay, I think of other things. I think of a bald head, a pair ofglasses, the pendulum at Griffith's Observatory. I wonder of Michel ever thought of Leon and the rotation of the earth. I think of how my expectations that Foucault would reference himself more directly in a piece entitled "What is an Author?" are completely unmet.

3.02.2009

Too Much Cold Medicine or It's Raining Text!

I decided that I really wanted to post some ideas to you guys, particularly because I am out sick (like a dog) and so I won't get to participate in Caroline's project and bat around thoughts, you know, corporeally.

I love playing with words. I love mad-libs. I love magnetic poetry. I've often wondered about how to make a piece of work that involves some of the exciting elements of those games. The joy and accessibility of the play, the productivity of the constraint, the leveling of the playing field, the interactivity, the group dynamic. So, in web-surfing text art et al, I came across this piece by Camille Utterback called Text Rain and I think it is fun and worth discussing, and gets at some of these questions. To encourage you to link on through to the piece and then open the quicktime documentation (I highly recommend the larger file, the small file is all pixel-y) the piece is an interactive projection field where falling letters respond to bodies, umbrellas, and other objects placed in their paths and bounce around the objects. You can see in the documentation the way that the audience engages in the piece, playing with the rules of the letters, trying to contain or disperse it, trying to make sense or destroy sense. There is a poem that the letters are culled from, about bodies and text so the website says, and it begs the question of where the author is. Is it the author of the poem? Or in this case, does it have something to do with bodies in particular? What about when there is no poem, just letters? What would the interceding bodies be then? What about absent bodies (like mine? :)

Ok, and also, speaking of mad-libs and art, can we maybe do this mad-libs-ifesto as a class? Cause I think it is AMAZING!

Don't get this cold. It BLOWS.

Also, what about writing in all caps? Why is that so what it is? Ok, too much cold medicine, obviously. Do not compare this post to the last one! It is crazy. Have a good class, guys, and I'lll be back with you next week. More bloggers please!

Context: The Culprit

Posting Date: TUESDAY : 24th

Title: Context: The Culprit

Ok, I had this revelation, last night at 12:30 am (the only time I had to allow my brain to wonder)

This goes back to our conversation yesterday: 
“Why are writers not allowed to play with visual arts, as visual artist are allowed to play with writing?”

I caught myself being stuck in somewhat of a tunnel vision during class: I could only think of academic “writing” during our discussion, hence my comment “writing has never been artistic or creative, and more factual”. Of course writing has been creative! And of all people I should know as a graphic designer:  from Iranian arts of calligraphy, to illuminated manuscripts, expressive typography, Futurists, and Dada etc.

So, after admitting my mistake, I asked myself why/how? 
And I came face to face with the culprit: Context
At least I believe so. 

Of course politics, cultural trends and other aspects we discussed are have influence on what different groups considered proper – or otherwise –  when it comes. However, when one discusses writing in an academic environment, we are dealing with a specific lineage. When discussed in the realm of creative/arts, we see a different history behind us. etc.

Acknowledging the overwhelming importance of context and the relative control that we –as communicators– have,  can initiate a path decipher the elements that are causing the original question to arise, as well as giving us the choice to gamble with our work in arenas of our individual choice – since that specific arena will bring with it the context which the work will be critiqued within.

I had to get this off my head, before I went crazy talking to myself. I hope  it makes some sense.

2.23.2009

And I Quote

Some things that I've been thinking in class, and some things that I mentioned off-hand with a little more follow through, and some Merleau-Ponty (for the laughs, obviously).

Miniatures and Text:
I know that I brought up miniatures in class, but my notes just refuse to tell me why. Until I can learn to take better notes, I'll put down some things that I'm thinking about, and hope that the metonym will just make itself manifest by the sheer power of causality. I remember that we were talking about affect in artmaking, and the affect of puppets, most particularly the miniature, is an interesting one. According to Susan Stewart in her book On Longing, there are two ways in which we view the miniature. "First, the object in its perfect stasis nevertheless suggests use, implementation, and contextualization. And second, the representative quality of the miniature makes that contextualization an allusive one; the miniature becomes a stage on which we project, by means of association or intertextuality, a deliberately framed series of actions."

I started to feel like there must be an analogous relationship between theories of understanding the impact that puppets have on us and the way that we understand text. How does text point to a framed series of actions, or perhaps does it do the framing? What if we think of text like miniatures, nesting dolls of semiotic, intersubjective (intertextual?) and entirely reliant on their context in order to stand in for meaning? Maurice Merleau-Ponty would have something to say about that, maybe. In the essay that I was talking about in class, The Indirect Language and the Voices of Silence, he says that "[l]ike a charade, language is understood only through the interaction of signs, each of which, taken separately, is equivocal or banal, and makes sense only by being combined with the others." This is a more complex idea than the surface might seem, in the same sense that a miniature is a more complex representation than simply a tiny version of the real thing. We understand that language is not meaningful outside of context, but this observation of M.P.'s perhaps stretches our sense of context from merely the sentence to something quite larger. Also, he ask that "we rid our minds of the idea that our language is the translation or cipher of an original text, we shall see that the idea of complete expression is nonsensical, and that all language is indirect or allusive-that it is, if you like, silence." So, in total what this suggests is that the constituent parts of language are meaningless AND ALSO, the whole is actually silence. That feels a little like pulling a rabbit out of a hat. In that I mean that I'm hoping that if I wave my arms around enough, you won't notice that there's a bunch of holes in the middle part right now I don't have a great solution to pull it all together, but I think it might be interesting to discuss.. Perhaps someone will do some nice magic in the middle there. More later that will hopefully pull this all together.

Oh, and germane to the conversation, tiny puppets with big puppeteers try to take on the Great War on a small scale...
Hotel Modern

If you want to read more on either of these:
On Longing by Susan Stewart
The Merleau-Ponty Reader

2.18.2009

altermodern?

so i was thinking about our conversation the other day in class and the space in which language is faced with its own "corrupt" nature. After reading this short blurb on we-make-money-not-art, i thought about the implications behind labeling a socio-historic era in connection to how foucault presents the notion of the "transdiscursive position". Once one hears that s/he are living in a altermodern world and no longer a postmodern world (these are both still problematicly oversimplified terms) does one begin to think about things in a way that is accepting of the altermodernist and critical of the (antiquated?) postmodernist anti-conventions?

I wondered how in a hyper-discursive (postmodern) era, where it has become necessary for a work to incorporate both self-reflexivity and the socio-historical (dis)placement of a discourse which simultaneously forms and is formed by the limits of this reflexivity, how one might ever say anything other than, "we are all doomed!" or, "anything goes."

And because i am seriously interested in Charles Gaines' use of metonymy as a political (i would prefer to say ethical) practice, i was wondering if it as a process (not entirely isolated from metaphor but distinct enough in its function) might offer us a pragmatic approach to building functioning but open contexts of meaning. For instance C.S. Pierce discusses semiotics in threes (in contrast to Saussure's binaries) and always allows for a "ground" to contextualize the sign (be it an index, symbol, or icon). This context is always necessary for the sign to exist (it makes perfect sense to say that a sign cannot be comprehended without a context and without a context, it is simply an object). Therefore, it is not the meaning of the sign that is universally applicable or even conceivable but rather the capability of the artist to create and forge contiguous (spatially delineated) context(s)/relationship(s).

thus, this notion of globalization or altermodernism (which at this point still appears to be westernization) might be understood as an attempt to apply foucault's notion of the theory writer beyond the theory work and asking for people to live as if their lives themselves are "transdiscursive practices".

2.17.2009

A text that is what it is!

Just a quick thought pre class, inspired by reading a workshop from Howard in a different class...

Does the sound, feel, essence of a letter/word embodied in the visual text of the letter/word? Like in sound...there are words that sound the very thing that they describe (I know there's a word for this but can't remember). Ooze sounds like its oozing. Squishy sounds squishy. Soft feels soft.
Can this same concept be transferred to the way words look?

This of course is a question to Western European languages. Where as in Chinese the entire language is predicated on the way the word looks.

In marketing they say that Round images are more appealing to women while angular or square shapes are more appealing to men. Though this might seem like a false binary, however, this does say that images produce socio-cultural significances. Does the angular A have a particular signifier that the O does not? Does the word COTTEN evoke softness because of the way it looks?

Just a quick thought.

2.11.2009

GLOCAL: Global + Local

Ok... I guess this blog is on the road and running!

As my introductory blog, I would like to point everybody to this site : www.glocal.ca

This is a collaborative, multi-faced artist-led project, examining the changing role of digital media today.

I look forward to more feedback from everybody, on similar interesting web-finds, as well as discussions of course material.

pj