Cardrew On Wittgenstein

Cornelius Cardrew: Towards An Ethic of Improvisation

In his later writing Wittgenstein has abandoned theory, and all the glory that theory can bring on a philosopher (or musician), in favour of an illustrative technique. The following is one of his analogies:

"Do not be troubled by the fact that languages a. and b. consist only of orders. If you want to say that this shews [sic] them to be incomplete, ask yourself whether our language is complete;-whether it was so before the symbolism of chemistry and the notations of the infinitesimal calculus were incorporated in it; for these are, so to speak, suburbs of our language. (And how many houses or streets does it take before a town begins to be a town?) Our language can be seen as an ancient city: a maze of little streets and squares, of old and new houses, and of houses with additions from various periods; and this surrounded by a multitude of new boroughs with straight regular streets and uniform houses."

"A city analogy can also be used to illustrate the interpreter's relationship to the music he is playing. I once wrote: "Entering a city for the first time you view it at a particular time of day and year, under particular weather and light conditions. You see its surface and can form only theoretical ideas of how this surface was moulded. As you stay there over the years you see the light change in a million ways, you see the insides of houses-and having seen the inside of a house the outside will never look the same again. You get to know the inhabitants, maybe you marry one of them, eventually you are inhabitant- a native yourself. You have become part of the city. If the city is attacked, you go to defend it; if it is under siege, you feel hunger - you are the city. When you play music, you are the music."


{Extracted from: http://www.ubu.com/papers/cardew_ethics.html}

Francisco López

Francisco López transforms the environmental recordings captured by his equipment into fascinating, disconcerting imaginary worlds –alternative universes that require a profound listening, free from aesthetic prejudices and especially from the need to associate what we hear with our actual surroundings. Because while the essential ingredients of López's work – his "musical objects", in Schaefferian terms – are often sourced from nature (insects, rivers, the wind, birds, urban soundscapes), his music totally transcends the original context of these p honemes {extracted from http://ww w.ubu.com/sound/spanish_avant. html}

Sound Matter

Collectively transforming city sound environments into sonic virtualities

"Sound Matter" is a series of collective projects conceived and directed by sound artist Francisco López. In each project a small group of experienced sound artists / composers is teamed up to work collectively in and on the city where they live / work. The artists explore the city sound environments, gather field recordings, generate a series of shared pools of sonic materials -both original and transformed- and then create several original pieces that are presented live in an immersive multi-channel set-up, in which a new sonic virtual city is generated.

BIRMINGHAM SOUND MATTER (2009)

Organized by Modulate
Participating artists:
Helena Gough, Annie Mahtani, Nicholas Bullen, Cormac Faulkner, Martin Clarke, Bobby Bird, Mark Harris.

Towards the blur by Francisco López November 2001

I refuse my nationality. As I would do with any nationality. Patriotism is a form of tribal sickness that is not cured by travelling -as many believe-but rather by simply considering people as what they should be: individuals.

The nomad doesn't "go out to see the world". He / she lives it, and "out" has no meaning for him / her.

Music as a tint for language: so often and since such a long time, so good for story-telling, so bad for music.

Many times I feel nature as a giant ghost with no language and without the slightest interest on me. That's when it becomes a thrilling experience.

Ticks are more noble than birds: they don't hide their nature behind a song.

There should be special labyrinths for explorers. Unknown places need a break. We should be concerned about the loss of unkonwnness in our world. Another option is to go back to legends.

Be careful if you are a mutant; there are many Blade Runners out there.

{Extracted from: http://www.franciscolopez.net/env.html}
"The illusion of realism or the fallacy of the 'real' The recordings of La Selva have not been modified or subjected to any process of further mixing or additions. In a traditional context, it could therefore be said that this work features 'pure' straight nature sound environments, as it is often claimed in many nature recordings releases. Yet I believe this to be too simplistic and also to obscure a series of problems on the sense of reality and its portrayal through sound recordings..."

"...Furthermore, a sound environment is not only the consequence of all its sound-producing components, but also of all its sound-transmitting and sound-modifying elements. The birdsong we hear in the forest is as much a consequence of the bird as of the trees or the forest floor. If we are really listening, the topography, the degree of humidity of the air or the type of materials in the topsoil are as essential and definitory as the sound-producing animals that inhabit a certain space."

Time Loops Our Sonic Stigmata

Tellus: Time Loops Our Sonic Stigmata

The thing with New York was that, by the very nature of this urban beast, silence was a rare commodity and linearity a near impossibility. To be at home or in the studio was to have not just the sounds of one's own thoughts, but a myriad of street noises- cars, sirens, people yelling, garbage trucks, and radios spitting out a ceaseless pastiche of international pop vernaculars. Perhaps the neighbors would be having another fight, the kids selling dope on the corner a new brand name to extol, the television is on, as is the stereo, and you've not quite put that book down to pick up the phone. This overlapping, all-subsuming, surfeit sensory saturation is the condition in which much of the music here was made. And what we hear of it today is inevitably either the denial or embrace each artist must determine in their relationship to the din of existence.
{Carlo McCormick, extract from http://www.ubu.com/sound/tellus.html}

Kafka & Sinatra

The unlikely duo become me in my presentation; more characters to swallow; to be possesed by; to channel; transmit; translate from body to body; Franz Schinaatra... perhaps. Now the phantasy can finally happen; all singing all dancing toe tappin' sidewalk flyin' ~ the musical of border patrol guards line dancing, stripped down for the one-man solo for my presentation.

The novel {Amerika} more explicitly humorous and slightly more realistic (except in the last chapter) than most of Kafka's works, but it shares the same motifs of an oppressive and intangible system putting the protagonist repeatedly in bizarre situations.

Not to raise myself to any level of being a 'protagonist' in my own adventure of enquiry {though I guess that I am de facto}, the oppresive and intagible system is present all around me, esepcially given the 'texuality' of the citytext - often of rules and discrepancies unbeknownst to me e.g. how even though the traffic signals show the 'white man'/O Illuminated One, Strolling, vehicles continued to keep crossing my path causing alarm and confusion at what I thought was their total lack of respect for my pedestrian rights. Later, I discovered, when eplaining my own 'road rage' of the afternoon, that vehicles do have this right in the state & city of New York- but the pedestrian always maintains the 'right of way' when the white man is illuminated.

Although Kafka never visited America, he crossed over to the land of red, white, and blue
through a portal of secondary sources. “Kafka read American travel books, attended lectures,
collected printed materials, and spoke with returning emigrants,” E. L. Doctorow explains in the
Foreword of Amerika, “all for the purpose of writing a realistic novel authenticated with ‘up-todate’ American detail” (Doctorow ix).

Likewise, I had never visited America, not before the CEP at least, but the seeds had been sown, the dream has been living inside of me for a long time before the CEP was even a known part of the Dartington degree. Indeed, just like Kafka and all modern day immigrants and tourists alike, we are all draw like moths to a flame by the mythology of this city like no other.

Part of my enquiry and investigation was about the confrontation of these phantasies with the everyday reality of being in the city "that never sleeps" . Both Kafka and I gathered our infomation is vastly similar ways, albeit I also have the knowledge powerhouse that is the World Wide Web at my disposal, but I still read a number of guidebooks, collected a vast amount of printed material e.g. newspapers, leaflets, flyers, postcards, business cards etc. from my journies around the city, and have spoken with a number of 'returned migrants' both in the city and back in Britian about their experience of being-in-the-city and their status as {im}migrants.

However, where Kafka and I part company is over the 'attention to realism' and 'up-to-date detail'. Whereas Kafka like so many writers of his historical context both as well as mine/Ours, his concern is with the portrayal of some 'truth' or in other words, as accurate an American 'world' as he can write having no first hand experience of the context. Whereas my enquiry was with first hand experience, but with the primary concern with the hyperreal, postmodern and symbolic source of American and New York 'mythology'- again in the Barthesian line of flight.

Specifically, within Amerika, a scorned individual often must plead his innocence in front of remote and mysterious figures of authority.

In the story, the Statue of Liberty is holding a sword, and some scholars have interpreted this as a "might makes right" philosphy Kafka may have believed the United States holds {Wikipedia}:

As Karl Rossmann, a poor boy of sixteen who had been packed off to America
by his parents because a servant girl had seduced him and got herself a child by him, stood on the liner slowly entering the harbour of New York, a sudden burst of sunshine seemed to illumine the Statue of Liberty, so that he saw it in a new light, although he had sighted it long before. The arm with the sword rose up as if newly stretched aloft, and round the figure blew the free winds of heaven (Kafka 3).

Kafka’s description of a Statue of Liberty that holds a sword rather than a torch leaps out as themost striking part of the opening paragraph. Controversy arises as to whether the factual error serves an intentional, symbolic purpose or whether it exists merely because of an unintentional misinterpretation of “contemporary photographs taken from a considerable distance and blurring all details” (Spann 76). Regardless of the intentionality of the mistake, however, the fact remains that Kafka consciously chooses to place a sword rather than anything else in Lady Liberty’s hand.
{Extract from http://people.csail.mit.edu/edmond/writings/amerikan-dream.pdf}

The irony of the sword replacing the torch rings masonic bells, yet the interpretation is what I find most intriguing. That the supposed materialized 'image' of America, of the photograph medium of the message, caused a misunderstanding, a misreading, resulting in the rewriting of the now symbolic archetype of liberty, freedom, opportunity and NYC/USA.

In a similar manner can I relate and compare my recent video and audio work about the 'blurring all details' of recognition and familiarity in order to achieve a simulated 'new' sound and image.

Writing style

Kafka often made extensive use of a characteristic peculiar to the German language allowing for long sentences that sometimes can span an entire page. Kafka's sentences then deliver an unexpected impact just before the full stop—that being the finalizing meaning and focus. This is achieved due to the construction of certain sentences in German which require that the verb be positioned at the end of the sentence. Such constructions are difficult to duplicate in English, so it is up to the resourceful translator to provide the reader with the same (or at least equivalent) effect found in the original text. {Wikipedia}

A shared writing style; an aversion to the punctuation and short sentences {albeit from my writing 'past'. The recent adoption of more 'creative' use of lesser known punctuation marks has caused some institutional backlash, but not as much as during my adolescence when my teachers would force me rewrite entire paragraphs of seemingly endless setences over and over again, reducing the length till they achieves some ersatz 'crystallization' of which I despsed more than anything. My damnations each night are aimed at this reductivist world, this Occam's Context I wish I could splice with my razor on a darkened night...

Another virtually insurmountable problem facing the translator is how to deal with the author's intentional use of ambiguous terms or of words that have several meanings.

Frank Sinatra:

Born in December 1915, Sinatra was the only child of Italian immigrants Natalie Della Garaventa and Antonino Martino Sinatra.^[7]

A pastiche I thought I would never attempt: to use the Broadway hit "New York, New York" during my presentation and future performance of *this* time of mine in NYC.Yet, Broadway is a major part of the performance context and history and world-wide theatrical status of NYC and therefore is it not inimical that a student of performance ought to parody the hell out of the ludicruous and decadent form of the Broadway musical as best they can?

Made some more sonic experiments by ripping a Youtube verison of the popular hit {actually written and recorded first by Liza Minelli} then taking the very first few bars, the famous opening sequence, then applying the following modifications, mutations, translations:

Reverse ~> Slow Tempo {-100%} ~> Wah-Wah ~> Delay

= a Euphoria/Trance/Chillout break-down and a 'complete' mutation of te original; has become 'a whole other' to that of the initial mp3 first worked with. It's on the left hand player, have a listen. Towards the end of the track I often hear a slight fantasmic trace of the famous opening bars, but perhaps this is an audible projection from my countless kareoke sessions here in the apartment now there's no one around to hear me practice...

I am particularly drawn to the lines in the 2nd verse of

"These small town blues/ Are melting away/ I'm gonna make a brand new start of it/ In old New York"

which could prove an interesting Goat Island approach of reperforming the song but shifting the beginning middle and end to different parts of the presentation¬performance playing the with the recognisable structure, offering fantasmic allusions

perhaps even play the song under the 'blankets' of city noise or Audicity/effects pedal modification...

"Narrates Thru Golden Doors"

a short 1 minute clip from the forthcoming feature length film to accompany the blessed CEP presentations in January.
Possibility of a debut at the WhiteRoom/Poly at Falmouth as part of the CEP Presentation launch programme.
This Motion Picture Soundtrack was brought to you through the RP80 guitar effects pedal; albeit no longer a reliable source of sound modification-> mutation->translation as one of the main lef/right buttons has 'caved in'to the machine itself as is almost nigh-on impossible to shift back into place. Will have to seek specialist advice upon returning to Blighty.)

The sound recorded at the time and on the original unadulterated/not from concentrate footage had picked up an distasteful amount of windnoise. So, by firstly slowing the footage down twice- which is both an visual and audible shift/change/alteration/mutation, I then plugged in my effects pedal and began playing and replaying the clip changing each time the number of the effect {the range from 1 to 80, although most sound very similar}. Eventually, I narrowed down my four favourites that gave the most interesting 'mutation'modification to the footage sound.The chosen effect numbers were:
59 66 67 77
{Particular notable favourite is 67 because of its sonic quality resembling that of both birdcalls and American military marching band fifes and whistles; both of which are qualities I am in the process of perfecting through computerized manipulation. On top of this, I believe that the octaves/'notes' effect 67 cycles through are the same as for "Taps" ~ the American verison of the British 'The Last Post' which was coincidentatly played at the folding of the white hart flag during the penultimate part of WaterWorks back in the Old Country, June 2010. Perhaps on return to Falmouth we can ask Eliot to replay the tune, but modify it live through the effects pedal and then overlay onto the recorded footage you hear on the clip below- also see http://en.wikipedia.org/wiki/File:Taps_on_bugle.ogg for a quick reminder of the tune and then compare with listening to the footage}

Order of modification->mutation->translation of the video from raw stills camera footage involved first tarnslation of file format into one recognisable by Windows Movie Maker.
Then, through experimentation with various clips and the video effects upon them resulted in my favouring the 'Slow Motion, Half' ~ 'Very Old Movie' ~ 'Threshold' and 'Posterize'. Reasons or rather 'agenda' for such modification stems from the continued exploration of the futile{?} attempt to return to the real from the hyperreal
+ the social reseach of deception via the virtual mediums of sight and sound, with the hope of encouraging and provoking the audience to question the value and "authenticity" of what they being rpesented with what they are being told is being presented- between their projection, mine and social construction ~
{all under deconstruction}.

Having experimented with using the 'original footage' of Ellis Island immigrant embarkings, there was very little I was able to modify that would alter the footage to such a degree of bearing some personal artistic seal.
However, it suddenly struck me that instead of altering the 'original' why not later the 'new' footage to give the appearence of being 'old'/'vintage'/'authentic' {language game superlatives etc.}?
By careful adjusting the black and white/greyscale grain of the two ages of footage am I able to mutate and equate the two ages into an indistinguishable parallevel of 'timeless classics' and 'enforcenticity'.

The raw footage/clips are of the walk from the boat towards the famous 'golden doors' of Ellis Island, where millions of immigrants passed through to be exmained, questioned and eventual approved entry into the United States of America.

Conerning the development of this footage, aside from the coupling of the modified 'new' and 'old' footage, the film will be projected and I performing with it- possibly with Melodica or other musicians playing along to the 'soundtrack' or manipulating the soundtrack live {should the effects pedal function again proper}.
I feel that to further explain my process of 'mutation'/translation and modification of image/sound I need to show clips of the 'original' raw footage at some instances in order for the audience to gain a comparative view... is it possible to create a visual and audiable 'comparative text' from the ordered sucession of image and sound?

SUETESHOPPE

HomeSweet?

Photographic Documentation of the 7-hour duration performance installation as part of the HomeSweet? Exhibition in The Loom {art mini-mall} Bushwick Brooklyn. Part of the BETA Spaces festival organized by Arts in Bushwick as part of the Better Than Jam Co-Op shop and Nalani Latish Williams. My thanks to the photographers Danielle Remo & NLW.

[New] Airport Inspection Regulations

WASHINGTON – Nearly a week before the Thanksgiving travel crush, federal air security officials were struggling to reassure rising numbers of fliers and airline workers outraged by new anti-terrorism screening procedures they consider invasive and harmful.


"It's all about security," Homeland Security Secretary Janet Napolitano said. "It's all about everybody recognizing their role."


At the San Diego airport, a software engineer posted an Internet blog item saying he had been ejected after being threatened with a fine and lawsuit for refusing a groin check after turning down a full-body scan. The passenger, John Tyner, said he told a federal Transportation Security Administration worker, "If you touch my junk, I'm gonna have you arrested."

Concerns about both procedures are not limited to the U.S. In Germany over the weekend, organized protesters stripped off their clothes in airports to voice their opposition to full-body scans.

Douglas R. Laird, a former security director for Northwest Airlines, said it's the resistance to these measures that will cause the most delays. The new enhanced pat-downs, an alternative to body scanners, take more time — about 2 minutes compared with a 30-second scan. Delays could multiply if many travelers opt for a pat-down or contest certain new procedures.

Homeland Security and the TSA have moved forcefully to shift airport screening from familiar scanners to full-body detection machines. The new machines show the body's contours on a computer stationed in a private room removed from the security checkpoints. A person's face is never shown and the person's identity is supposedly not known to the screener reviewing the computer images.

Extracted from: http://news.yahoo.com/s/ap/20101116/ap_on_bi_ge/us_airport_security

31-year-old John Tyner recorded much of the incident on his cell phone.

When he arrived at the airport early Saturday morning, Tyner had already read extensively about full-body imaging machines and "the possible harm to health as well as the vivid pictures they create of people's naked bodies," according to a posting on his blog. So when TSA agents directed him to one such machine, Tyner refused, prompting one TSA agent to tell him he would have to undergo a pat-down.

"After he described the pat down, I realized that he intended to touch my groin," Tyner wrote on his blog within hours of the incident. "Before he started the pat down, I looked him straight in the eye and said, 'If you touch my junk, I'll have you arrested.'"

When another TSA employee intervened, "I stated that I would not allow myself to be subject to a molestation as a condition of getting on my flight," according to Tyner, who said he feels the government took away his rights after the attacks of Sept. 11, 2001.

"Look, we know the threats are real," said Pistole, who spent more than 27 years
at the FBI before joining Napolitano's department as head of TSA.

"Whether it's 19 individuals with box cutters, an individual with a shoe bomb, whether it's individuals with explosives in liquids, whether it's an individual with explosives in his underwear, or cargo threats, we know that the threats are real. So what steps can we prudently take to make sure that the traveling public is safe?"

Read more: http://politics.blogs.foxnews.com/2010/11/15/dhs-chief-says-abandoning-airport-scanners-would-be-irresponsible-ca-man-warns-tsa-not-to#ixzz15PIWXn2V

RADIO ZOOT: residue of a city

RADIO ZOOT: residue of a city: "i liked the bright lights and the city wide spew, the hustle and the feeling of not fitting in but thats ok, who does, its a mash up a synch...

Under the false pretence of the french collusively working within our language, deconstructing the cities of speech and thought and text, a deceptive translationof of Zoot's text into English, Emperors New Blog, Jedi Mind Trick, Acting, Seld-Denial
leads to¬

I liked the bright lights and the city wide spew, the hustle and the feeling of not fitting in goal thats ok, who faire, its has mash up has synchronized chaos of colour (mostly gray) and sound (mostly traffic). I made it through the underground worming my way through crushes, like has eel up the escalator à emerge into has hubbub, not necessarily where i wished à appear goal so goddam happy à be there anyway, lugging bags and squinting into the wan autumn light at the crumpled underground map. Something about it- the mix, its devastating undeniability - big massive wide solid grind mostly undecipherable now folks in their thousends just rubbing along together now not, barging past head down... Work of art balances roadworks and improvements lost in worth face presentation, big gestures of architecture belonging à the state, the history of has few impacting from all sides 200 stories high. I smile along with has multiplicity of children, newer Londoners, has guest in their city of bright lights and attractions and crazy paving. House sized demanding bill boarding covers over Windows one other people's lives like every ones so busy, and i am too, goal i'd so like à stand and stare because its still amazing the colour -fireworks over primrose hill- and the sound- has thousand languages just babbling, making their worlds go round"

And as dastardly as the prime time first time did it again, gonna keep doing it, Derridean trace test facility via the supercial mechanismé of the internet translator box- appearance is all to these bots, BEWARE our teachers would say, their future lies inches from your understanding and inevitable miscomprehension BEWARE or awe turns that into THIS:
{From the previous, into the supposed, now I reveal my sleeve and unto the chosen volunteer, now read...}

J'ai aimé que les lumières de la ville et la ville large crachent, la bousculade et la sensation de ne correspondant pas à l'objectif cela bien, qui fait, son a la pâte a synchronisé en haut le chaos de couleur (surtout gris) et solide (surtout la circulation). Je l'ai fait par le worming souterrain ma façon par les bousculades, comme a l'anguille sur l'à d'escalator émerge dans a le brouhaha, pas nécessairement où j'ai souhaité qu'à apparaît que l'objectif si goddam à heureux est là de toute façon, les sacs de lugging et louchant dans la lumière d'automne wan à la froissé sous terre carte. Quelque chose de lui- le mélange, son undeniability dévastant - le grand solide large massif meule surtout des indéchiffrable maintenant gens dans leur thousends frottant juste le long de maintenant pas, bousculant ensemble la tête passée en bas... L'oeuvre d'art équilibre des courses sur route et les améliorations ont perdu dans la présentation de visage de valeur, les grands gestes d'architecture qui appartient à l'état, l'histoire d'a le quelques influe de tous les côtés 200 histoires haut. Je souris avec a la multiplicité d'enfants, plus nouveaux Londoniens, a l'invité dans leur ville de lumières de la ville et d'attractions et le pavé fou. La maison a calibré exigeant la facture qui monte des http://www.blogger.com/post-edit.g?blogID=5129824044525905649&postID=8804885723100002066couvertures sur Windows une autres vies des gens comme chaque une si occupé, et je suis aussi, l'objectif que j'aimerais si la position d'à et le regard fixe parce que son calme stupéfiant la couleur -les feux d'artifice sur la colline de primevère- et le son- a mille langues babillant juste, faisant leurs mondes aller en rond

Then back into English:

I liked that the lights of the city and the wide city spit, the crush and the sensation of not corresponding one to the objective that well, that does, his has the dough synchronized in top the chaos of color (especially gray) and solid (especially the circulation). I did it by the underground worming my manner by the crushes, as has the eel on the to escalator emerges in has the hubbub, not necessarily where I wished that to appears that the objective if goddam to happy is there in any case, the bags of lugging and squinting in the light of fall wan to the crumpled under earth card. Something of him- the mixture, his devastating undeniability - the big massive wide solid millstone especially of the indecipherable one now people in their just rubbing thousends alongside now not, jostling together the past head down below... The art work balances races on road and the improvements lost in the presentation of face of value, the big gestures of architecture that belongs to the state, the history of has the some influences of all the sides 200 high histories. I smile with has the multiplicity of children of London newer, invited it in their city of lights of the city and of attractions and the paved crazy. The house gauged exacting bills it that climbs of the covers on Windows another lives of the people as every an if occupied, and I am also, the objective that I would like if the position of and the look sets up because his stunning calm the color -the fireworks on the primrose hill- and the sound- has thousand languages chattering just, doing their worlds to go in round

Laaanguidg is a virus Ooo!
And step, 2, 3,4 turn around!

Le lumières des de que d'aimé de J'ai de la ville et la ville grand crachent, la bousculade et la sensation de l'objectif d'à de pas de correspondant de ne cela bien, qui fait, le fils un la pâte un synchronisé en le chaos du de haut de couleur (surtout gris) et solide (surtout la circulation). Le de pair de fait de l'ai de Je le pair de façon de ma de souterrain de worming les bousculades, le com un Dans d'émerge de l'à de sur de l'anguille un brouhaha du, le souhaité de j'ai d'où de nécessairement de pas si de l'objectif de que d'apparaît de qu'à le là d'est de heureux d'à de goddam de toute façon, les poches de Dans de lugging et louchant la lumière à wan la carte de terre de sous de froissé. Quelque a choisi de lui- le mélange, le fils undeniability dévastant - le grandiose solide grand massif meule surtout du leur de Dans de gens de maintenant d'indéchiffrable le de juste de frottant de thousends longtemps du pas de maintenant, l'ensemble de bousculant la tête passée en diplômes universitaires... Equilibre d'art des cours sur la route et les améliorations ont perdu Dans la présentation du visage de valeur, les grandiose l'état d'à d'appartient de qui de gestes, l'influe de quelques du de l'histoire de tous les côtés 200 histoires haut. Je souris avec un la multiplicité, plus nouveaux Londoniens, un ville de leur de Dans de l'invité de lumières de la ville et et le pavé fou. La maison un calibré exigeant la facture qui monte de l'autres d'une de Windows de sur de couvertures rivalise du si d'une de chaque de com de gens occupé, et je suis aussi, le si de j'aimerais de que de l'objectif la position et la que de parce de fixe d'égard du fils calme stupéfiant la couleur -les feux sur la colline de primevère- et le fils du- un juste de babillant de langues de mille, l'aller de mondes de leurs de faisant en rond

Big Blue Button centered Translate, final time, and: click!

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But wait! The Grande Finale! Yes! People! We have reached a new goal! We have exceeded our gross national limits and have burst vomit thrust to a New World braver, later, neater: A New World English has been born! Observe it's beating limbs before your very prosaic eyes:
{the wool knit tighter under the guise of French, but English, to Spanish, becoming NEW WORLD EINGLIISH}

The lights of the of that of magnet of I HAVE CITY AND THE CITY BIG SPIT, the crush and the sensaciуn of the objectifies of no corresponde of not that well, that hacer, the his one the dough has synchronized one in the caos of the of seсal of color (especially gray) and solid (especially the circulaciуn). The of peer of fact of have it of I the peer in has manner of my of underground one of worming the crushes, the com one In Of emerges from the a one eel has hubbub of the, the wished of I have from which of necessarily of not tejo objectifies of that of appear of that a the there of i' s of happy one of goddam in any puts, The pockets of In of lugging and squinting The light a wan the card of earth of under of crumple. Some thing of him-the mixtura, the his undeniability devastating - grandioso(a) the big maciza solid millstone especially of the them of In of people of now of indecipherable one it of just one of rub of thousends has largo time of the step of now, the leotard of jostle the past head in university diplomas... Equilibrio of arte of the chase one the road and the improvements lost In the presentation of the cara of worth, grandioso(a) the the state of belongs of that of gestures, the influencias of some of the history of all the sides 200 high histories. I smile with one the multiplicity of London newer, has city of their of In Guest of lights of the city and and the paved crazy. The house year exacting gauges bills it that climbs of the others of year of Windows of one of covers competes of the tejo of year of every of com of people occupied, and I am also, the tejo of I would like of that of the objectifies the posiciуn and it that of because of sets up of consideration of the stunning calm his the color-the fires one the primrose hill-and the his of the-has just one of chattering of languages of thousand, a go it worlds of their of fact in asalto

the history of cardboard

Corrugated Papermaking - Cardboard

In 1856, Englishmen, Healey and Allen, received a patent for the first corrugated or pleated paper. The paper was used to line men's tall hats.

American, Robert Gair promptly invented the corrugated cardboard box in 1870. These were pre-cut flat pieces manufactured in bulk that opened up and folded into boxes.

On December 20, 1871, Albert Jones of New York NY, patented a stronger corrugated paper (cardboard) used as a shipping material for bottles and glass lanterns.

U S

U S

   /ʌs/ Show Spelled[uhs] Show IPA

–pronoun

1.

the objective case of we, used as a direct or indirect object: They took us to the circus. She asked us the way.

2.

Informal . (used in place of the pronoun we in the predicate after the verb to be ): It's us!

3.

Informal . (used instead of the pronoun our before a gerund): She graciously forgave us spilling the gravy on the tablecloth.

Use us in a Sentence

See images of us

Search us on the Web

---

Origin:
bef. 900; ME, OE; c. G, Goth uns

US

 

1.

United States.

2.

United States highway (used with a number): US 66.

U.S.

 

1.

Uncle Sam.

2.

United Service.

3.

United States.

u.s.

 

1.

where mentioned above. Origin:
< L ubi suprā

2.

as above: a formula in judicial acts, directing that what precedes be reviewed.

O.E. us (cognate with O.S., O.Fris. us , O.N., Swed. oss ), accusative and dative pl. of we, from PIE *ns- (cf. Skt. nas , Avestan na , Hittite nash "us;" Gk. no "we two;" L. nos "we, us;" O.C.S. ny "us," nasu "our;" O.Ir. ni , Welsh ni "we, us"). The -n- is preserved in Gmc. in Du. ons , Ger. uns .

Abbreviations & Acronyms

US

1. ultrasound

2. unconditioned stimulus

3. Uniform System

4. United States

5. United States [highway]

Derrida¬MasonicWord¬Heidegger

"The sentence "Man in his essense is the memory (memorial) or Being" avoids ascribing an agent to the unaskable question of Being. Heidegger is working with the resources of the old language, the language we already posses, and which posses us. To make a new word is to run the risk of forgetting the problem or believing it solved: "The transformation of the language which contemplates the essence of Being is subject to other demands than the exchanging of an old terminology for a new one, seems to be clear"..."
{pp. xv. J. Derrida [trans.G. C. Spivak], 1998, Of Grammatology: Yale University Press. Emphasis mine}



"It is therefore a situation where the signified commands, and is yet free of, all signifiers- a recognizably theological situation. The end of philosophy, according to Heidegger, is to restore the memory of that free and sommanding signified, to discover Urworter (originary word) in the languages of the world by learning to waylay the limiting logic of signification..."
{pp. xvi. ibid. Emphasis mine}

"The mythical history of Freemasonry informs us that there once existed a WORD of surpassing value, and claiming a profound generation; that this Word was known to but few; that it was at length lost; and that a temporary substitute for it was adopted. But as the very philosophy of Masonry teaches us that there can be no death without a resurrection,--no decay without a subsequent restoration,--on the same principle it follows that the loss of the Word must suppose its eventual recovery." Mackey, A “The Symbolism of Freemasonry” Chapter XXXI

{Extracted from; http://www.freemasons-freemasonry.com/masonic-lost-word.html} {emphasis mine}

"...his word "trace" (the French word carries strong implications of track, footprint, imprint), a word that cannot be a master-word, that presents itself as the mark of an anterior presence, origin, master."

{pp. xv. ibid.}

"In the section "The Signifier and Truth" of the Grammatology, Derrida discusses one curious characteristic of the general usgae of the metaphor of writing: even as it is used, it is contrasted to writing in the literal sense. "Writing in the common sense is the dead letter, it is the carrier of death [because it signifies the absense of the speaker]... From another point of view, on the other face of the same proposition, writing in the metaphoric sense, natural divine, and living writing, is venerated; it is equal in dignity to the origin of value, to the voice of conscience as divine law, to the heart, to sentiment and so forth" {pp. xi. p. 29, 17, ibid. Emphasis mine}

"...that certain peoples write and others do not. The first group can accumulate a body of knowledge [earlier aquisitions - acquisitions anciennes] that helps it to move ever faster toward the goal that it has assigned to itself; the second is confined within limits the prisoner of a history worked out from day to day, with neither an origin nor the lasting conciousness of a plan. Yet nothing of what we know of writing, or of its role in evolution, can be said to justify this conception." [p. 291] {pp.128, emphasis mine}

"A toothless humanity that would exist in a prone position using what limbs it had left to push buttons with, is not completely inconcievable." {pp.85, ibid.}

Boxes = Wor{l}d{s}{?}

The box is a world.
When someone inserts their head into the box they are accepting, if only for a few minutes, the unknown parameters of a miniature, alternate world. This mundane item, the cardboard box, reframes a face-to-face encounter in a way that rewards their risk and encourages intimacy.
After I welcome someone to the box and ask a few questions, which are never the same set twice, my guest in the box becomes a collaborator, helping determine the direction of our temporary reality.
In our shared dark space, where faces are barely visible at this time of day—it’s evening outside the library—one young lady tells me of her recent divorce and leads me through a meditative breathing exercise. Another extracts her head after 15 minutes discussing storytelling, and exhorts the handful of spectators to give the box a try.

Extracted from Brian Rush - Box

Next Sunday, as part of Arts in Bushwick Festival, I will perform at BETA Spaces 2010 group exhibition "HomeSweet?"

I applied for the group exhibition via the 'Artists Seeking Artists' opportunities, and emailed the curator with some initial ideas for a performance proposal. I wasn't expecting anything at first, still wary of the New York reception of performance art in this current age.
My first responses back from the curator/organizer didn't appear to be going anywhere;
they wanted to know more, in precise detail it seems, of what I was proposing/planning to do when I performed and how it related to my previous body of work.
I had to explain that I am now attempting to create a 'new' body of work which 'in-itself', questions the nature and status of the 'new'.
Wasn't hopeful of being accepted, no expectations raised- recalling conversations as to the decline of Performance Art in NYC during the past decade due to financial unsustainability in current resessive economic context causing more and more artists to leave performance behind as a medium in favour of more commercial purchasble media and forms...
Then yesterday, whilst waking up with the rest of the packed house sitting at the Breakfast table drinking Chen Jin's green tea, recieved email confirmation:

From:	NLW Arts (nlw.arts@gmail.com)
Sent:	03 November 2010 00:43:10
To:	xiipal lapiix (xiipal@live.com)

Hi,

Home Sweet is being exhibited at 1095 Flushing Ave. at a retail store,Better than Jam.

There is a space behind the store, where you you can do your Durational & Interactive Performance.

Excellent! Short sudden shot of panic of now having to deal with another art 'world' and community whom I have no connection to prompts me sharply to go and befriend them at their place, very close to Grace Space I then discover.
My persistance in submitting the applications was encourages by my CEP supervisors insitance that I attempt to contextualize and seek exterior opportunities from beyond the wing of Grace Space.
...Even If the proposals and submitions we're rejected, have the texts and responses to include in an appendix of attempted projects in context, plus feedback on how to improve my applications for the future...

For Person Remunerated for a Period of 360 Consecutive Hours, originally made at P.S.1 in New York in 2000, Sierra built a brick wall in the gallery space and paid a low-income worker his usual wage to live behind the wall for 360 hours, receiving food and drink through a narrow opening at the base of the wall. Other works have included instructions for minimum wage workers to push enormous cement blocks around a gallery, to sit in a cardboard box throughout an entire working day, to hold up a wall leaning at 60 degrees, to have their backs tattooed or sprayed with polyurethane, etc. Employing temporary laborers – often immigrants not legally allowed to work – determines Sierra's work as performative, with his ‘'actors' being by necessity and by definition provisional. By making clear indictments of global economic imbalances and abuses, Sierra, as a member of a privileged social class of intellectuals or 'cultural workers,' cannot possibly be part of his own works.
Extracted from http://www.saatchi-gallery.co.uk/blogon/view_essay.php/154/the_legacy_of_performance_art