Saturday, 9 October 2010

Indeterminate Hikes~Ecoarttech

Indeterminate Hikes

Indeterminate Hikes involves a custom smartphone app that guides participants on urban hikes & encourages them to navigate, question, and document the possibilities of hybrid ecology—spaces for “nature” or wildness—in a globalized, urban space. Users assess their approximate coordinates in relation to "Lookouts" embedded within IH maps that indicate points in which the merger of ecologies of the social, psychic, & environmental may be experienced. Indeterminate Hikers are encouraged to pause for a minimum of 5 min. or 30 breaths at each lookout and then capture / upload images of their ecological experiences to the IH site. Images are archived in a database according to each lookout locations and made available for all to consider. ecoarttech will lead an Indeterminate Hike that functions as a performative, in-the-field workshop to cultivate conversations of nature, wildness, & wilderness as well as strategies for sustainability within cosmopolitan, digitally networked environments.

The ecoarttech collaborative explores environmental issues and convergent media and technologies from an interdisciplinary perspective, including art, digital studies, philosophy, literature, and ecocriticism. For ecoarttech, the term “environment“ does not refer only to nature or geographic spaces; rather, we understand it as part of an interwoven network of biological, cultural, mental, and digital spaces, and we imagine the health of each as indistinguishable from the health of others.

Extracted from http://www.confluxfestival.org/projects/conflux-festival-2010/indeterminate-hikes/

Could I develop a similar project, on a smaller scale yet nonetheless conceptually congruent and informative/performative, around the space of Tremough/Performance Centre campus?

Thursday, 7 October 2010

Philosophers on Paradise, Utopia & Language


















Johann Georg Hamann:
Language is one of Hamann's most abiding philosophical concerns. From the beginning of his work, Hamann championed the priority which expression and communication, passion and symbol possess over abstraction, analysis and logic in matters of language. Neither logic nor even representation (in Rorty's sense) possesses the rights of the first-born. Representation is secondary and derivative rather than the whole function of language. Symbolism, imagery, metaphor have primacy; “Poetry is the mother-tongue of the human race” (N II, 197). To think that language is essentially a passive system of signs for communicating thoughts is to deal a deathblow to true language.
Hamann's answer to a debate of his time, the origin of language — divine or human?—is that its origin is found in the relationship between God and humanity. Typically he has the ‘Knight of the Rose-Cross’ express this in the form of a ‘myth’, rather than attempting to work out such a claim logically and systematically. Rewriting the story of the Garden of Eden, he describes this paradise as:
Every phenomenon of nature was a word,—the sign, symbol and pledge of a new, mysterious, inexpressible but all the more intimate union, participation and community of divine energies and ideas. Everything the human being heard from the beginning, saw with its eyes, looked upon and touched with its hands was a living word; for God was the word. (NIII, 32: 21-30)

This makes the origin of language as easy and natural as child's play.


John Scottus Eriugena discusses the return (epistrophe, reditus, reversio) of all things to God. According to the cosmic cycle Eriugena accepts, drawing heavily on Maximus Confessor and Maximus’ interpretation of Gregory of Nyssa, it is in the nature of things for effects to return to their causes. There is a general return of all things to God. Corporeal things will return to their incorporeal causes, the temporal to the eternal, the finite will be absorbed in the infinite. The human mind will achieve reunification with the divine, and then the corporeal, temporal, material world will become essentially incorporeal, timeless, and intellectual. Human nature will return to its ‘Idea’ or ‘notio’ in the mind of God. According to Eriugena's interpretation of scripture, ‘paradise’ is the scriptural name for this perfect human nature in the mind of God. Humans who refuse to let go of the ‘circumstances’ remain trapped in their own phantasies, and it is to this mental state that the scriptural term ‘hell’ applies.

Articles from Brochure

Philosophy in Paradise—A return to the garden

By Bernice Miller

http://www.sfu.ca/philosopherscafe/garden.htm

Where is the garden of our dreams? Can we find it described in literature or poetry? Is it possible to plan private gardens and public parks that will enrich our private and communal lives? These were some of the questions posed at the Philosophers' Cafes held on June 10th and 11th—moderated by Joe Ronsley, Professor of English Literature at McGill University, now retired and an avid gardener—at the Van Dusen Garden's “Storied Garden” show this year.

Dr. Yosef Wosk, Director of the Interdisciplinary Programs at Simon Fraser University at Harbour Center, described the theme as an inquiry into the concept that gardens are places where people can experience innocent, unlimited pleasure; an idea that goes back to the biblical description of the Garden of Eden.

Her notable life's work has been to provide “green living for city dwellers.” Her numerous landscapes in Canada include downtown Vancouver's Courthouse at Robson Square, designed by Arthur Erikson who chose her to do the building's “hanging gardens,” as well as the roof garden of the Vancouver Public Library designed by Moshe Safdi.

Rooftop gardens add to a building's amenities, and also provide energy saving insulation. But is the inclusion or exclusion of garden space in our built environments perhaps also an indicator of our underlying philosophy as to our relationship with nature?

Dr. Wosk asked whether there is a parallel reading to be found between nature and literature. Doesn't the strictly controlled garden develop contiguous with the linear development of literature? And doesn't modern development of innovative movements in modern literature and poetry translate back to affect our perceptions of nature? An even more intriguing question, he noted, is whether we can ever get back to a direct communication with nature.

“ To make a full circle of our meetings,” our moderator Joe Ronsley said at the end of the second Cafe, “let us close with a reading of the scene under rhododendrons, from James Joyce's Ulysses. We agreed, saying “Yes” to the pleasure of these past two days in these dream gardens.

2.1 E. H. Carr's Challenge of Utopian Idealism

In his main work on international relations, The Twenty Years' Crisis, first published in July 1939, Edward Hallett Carr (1892–1982) attacks the idealist position, which he describes as “utopianism.” He characterizes this position as encompassing faith in reason, confidence in progress, a sense of moral rectitude, and a belief in an underlying harmony of interests. According to the idealists, war is an aberration in the course of normal life and the way to prevent it is to educate people for peace, and to build systems of collective security such as the League of Nations or today's United Nations. Carr challenges idealism by questioning its claim to moral universalism and its idea of the harmony of interests. He declares that “morality can only be relative, not universal” (19), and states that the doctrine of the harmony of interests is invoked by privileged groups “to justify and maintain their dominant position” (75).

Carr observes that politicians, for example, often use the language of justice to cloak the particular interests of their own countries, or to create negative images of other people to justify acts of aggression. The existence of such instances of morally discrediting a potential enemy or morally justifying one's own position shows, he argues, that moral ideas are derived from actual policies. Policies are not, as the idealists would have it, based on some universal norms, independent of interests of the parties involved.

“Just as the ruling class in a community prays for domestic peace, which guarantees its own security and predominance, … so international peace becomes a special vested interest of predominant powers” (76).

Carr was a sophisticated thinker. He recognized himself that the logic of “pure realism can offer nothing but a naked struggle for power which makes any kind of international society impossible” (87). Although he demolishes what he calls “the current utopia” of idealism, he at the same time attempts to build “a new utopia,” a realist world order (ibid.). Thus, he acknowledges that human beings need certain fundamental, universally acknowledged norms and values, and contradicts his own argument by which he tries to deny universality to any norms or values. To make further objections, the fact that the language of universal moral values can be misused in politics for the benefit of one party or another, and that such values can only be imperfectly implemented in political institutions, does not mean that such values do not exist. There is a deep yearning in many human beings, both privileged and unprivileged, for peace, order, prosperity, and justice. The legitimacy of idealism consists in the constant attempt to reflect upon and uphold these values. Idealists fail if in their attempt they do not pay enough attention to the reality of power. On the other hand, in the world of pure realism, in which all values are made relative to interests, life turns into nothing more than a power game and is unbearable.

Wednesday, 6 October 2010

The Great Illuminated One, Strolling


















Performance for traffic light pedestrian crossing in NYC:
Requires: 1 bodysock/morph suit covered in white fairy lights.
Performer wears costume and walks to a traffic light pedestrian crossing.
When s/he arrives at the crossing, all lights should be switched off.
When the Great Illuminated One (see photograph above) lights up, so does the 'follower' - the costumed performer, by switching on the fairy lights, and begins his slow stroll across the street.
Once he reaches the other side of the pedestrian crossing, he switches off his fairy lights, pauses then walks off down the street.
Development: Several performers perform the above with appropriate costumes simultaneously at different sections of a pedestrian crossing.
Costume could be developed to have a 'red' fairy light hand which is light up separately to the rest, so that when the 'red hand/stop' sign is illuminated, so does the performers.
Therefore, with this development, so the ensemble/group performance could have different performers performing different actions at different points.
Racial Equality Development: Instead of white lights, have different performers wear multicoloured or single different coloured fairy lights, to highlight the subtle 'racial' insinuation of the 'illuminated white one'.
Perhaps performers could carry a slip of theatre lighting gel corrspondant to their costume light colour, and once they've crossed the road, could place over the 'illuminated white one' the coloured gel, perhaps with some text/message underneath.
Soon the city traffic light pedestrian crossings will be full of different coloured 'strolling one's' highlighting the variation of racial difference in New York City.

TVTOWERBLOC














Performer must carry six black and white televisions, with effects-pedal strapped to his foot.
Each television is tuned to a different radio station or AV frequency
Performer carries televisions around the space, depositing each one at a corner of the space.
Each atennae of each television is extended telescopically: depending on the space and the position of the performer and audience in the space, the frequencies will shift in and out of intelligibility and pitch/sonic texture.
Performer continues perfoming around the space, adjusting the televisions one by one.
Performer then selects one television and brings it over to the PA system and plugs in the television into the effects pedal, wired into the PA system and changes the frequency to a radio station of just human speech. RedioBaebel-style voice sounds will be heard. Performer works with the volume of the PA system to adjust soundscape with the rest of the chattering television sets.
Audience are allowed to walk around the space to adjust their hearing and listening of the sounic environment.

Ŋεω Шσŗľđ

Ŋεω Шσŗľđ

Ellis Island Medical Examination


























Many immigrants were tested for mental problems, physical problems and other illnesses. Those who were wealthy did not have to take these exams.

The symbols below were chalked on the clothing of potentially sick immigrants following the six-second medical examination. The doctors would look at them as they climbed the stairs from the baggage area up to the Great Hall. Immigrants' behaviour would be studied for difficulties in getting up the staircase in any way. Some only entered the country by surreptitiously wiping the chalk marks off or by turning their clothes inside out.[6 ^ Ellis Island Chalk Marks. Retrieved April 21, 2007]

C - Conjunctivitis
B - Back
CT - Trachoma
E - Eyes
F - Face
FT - Feet
G - Goiter
H - Heart
K - Hernia
M - Vaginal Infection
N - Neck
P - Physical and Lungs
Pg - Pregnancy
S - Senility
Sc - Scalp (Favus)
SI - Special Inquiry
X - Suspected Mental Defect
X (circled) - Definite signs of mental disease

When every immigrant passed, the doctor with the help of an interpreter, examined the hair, face, neck and hands of every person. The doctor had a chalk in his hand, when he noticed that some area needed to be checked more thoroughly, he wrote a letter on the immigrants clothes. About 2 of 10 persons got a letter on their clothes. This check became known as "the six second physicals".
Extracted from http://www.ellisisland.se/english/ellisisland_immigration3.asp
"Trachoma, a highly contagious eye infection that could cause blindness, was common in south-eastern Europe but relatively unknown in the United States. It appeared as inflammation on the inner eyelid. Doctors checked for the disease by raising the eyelid with their fingers, a hair-pin, or a buttonhook.
http://www.flickr.com/photos/erica_marshall/3839459129/
During the Registry Room's restoration, when the ceiling was inspected and cleaned, only seventeen of the 28,832 tiles originally set by the Guastavinos had to be replaced. As restoration progressed, workers discovered graffiti left by the immigrants, hidden beneath successive layers of paint on the building's walls. Scratched into the original plaster were names and initials, dating from 1900 to 1954, accompanied by poems, portraits, religious symbols, and cartoons of birds, flowers, and people. Some images were written in pencil, others in the blue chalk the medical inspectors used. Also inscribed were words of heartache. "Damned is the day I left my homeland," wrote one Italian hand, and in Greek sad and angry fingers scrawled, "Blast you America with your much money who took the Greeks away from their race." To save these telling accounts of the immigrants' frustration, joy, and perseverance, a fine arts conservator used methods developed to preserve the frescoes of Italy.
Most immigrants passed the interrogation and got their "landing card" (the permit to leave and enter New York).
Performance Research {Ideas}:
Re-create the Medical Examination room environment and/or be(coming) an Ellis Island Medical Examination Officer.
Audience be(come) the newly arrived immigrants attempting to pass through the check-ups.
¬Actions of performer are to line up all audience/potential new world citizens
¬Have a board with list to take down names 'verbatim'- Research tells me that many Officers in E.Island did not have the passenger list and so attempted to write the names of the immigrants simply by hearing them say them= phonetic confusion, chance and guesstimation resulted in many immigrants having 'new' names (and from that, 'new' idenitites) because the officers couldn't spell or missheard or didn't understand their intonation and pronunciation.
¬Performer/Examiner needs a variety of tools to press, prod, prize and poke the audience to 'test' them.
¬Performer/Examiner needs blue chalk to then draw on the backs of the audience/new world immigrant their medical condition: Problem- many audience/new world immigrants may not want chalk on their new expensive clothes- should I persist? Larger Problem- the chalk may not work on all surfaces of coats/jackets/blazers etc. Perhaps I need to find/buy coats? Or make some kind of pull-over/'scrubs' for them to put on which is chalk-friendly? Remembering Living Structures performance last winter where audience were sloly converted/transformed into 'reindeer' by being given sackcloth 'shirts' and masks.
¬Performer/Examiner has exactly a minute to examine, diagnose and move the audience/new world immigrant along= creates speed and repetitive performed actions.
¬Want audience/new world immigrant to know what their letter means- they will have to communicate to each other. Perhaps post a list in the space at the end which gives the reference code/'key' to their chalked signs. Perhaps make passports with infomation inside? Inc. 'WELCOME TO THE NEW WORLD', $1 with a needle through The Eye, and a place for their photo/personal infomation collected.
[Could I build a cardboard booth that transforms into a boat/tower? Do I have other props like a chair? table? coat stand?]

Monday, 4 October 2010

Delusions

Another little life ambition fulfilled:
seen Laurie Anderson LIVE
($40 buys me a seat a little left of centre, on the main Orchestra section, can just about see Andersons' face = priceless)
Brooklyn Academy of Music, Harvey Theatre, 28/09/10

A more 'stripped 'show in comparison with her epics that we're all perhaps used to (e.g. United States I-IV, Songs of M0by Dick)
I go expecting for inspiration, and she certainly delivers:


Voice Manipulation. It's taken her a long time to really perfect the voice modifier to avoid it sounding too 70s and of unintentional comic effect, having to reinvent and redevelop the same technology over these years. For this show she chose to just use the deep, resonant, ulta-masculine 'voice of authority' as she describes.
It seems like a safe bet, as most of the higher frequency voice modifiers can never escape comic unintention. However, she does need to more wary of how booming the lower frequency registers can affect the comprehensibility of her speech. At several points I was straining to keep up with the story she was threading.





































Voice Changers: http://www.brickhousesecurity.com/av-voice-changer.html













Reasonably priced, professional espionage-style sound- however, personally untried and untested, so could result in Darth Vader and mickey Mouse antics, which are fun and comical, the need is to bend gender through sonic modification, to play around with the voice and the vocal yet maintaining some level of 'sonic acceptability'- whereby the auditor recognizes that the voice is still human and 'real', of another human being, yet in order to deceive the auditor enough- should the voice changer be used 'in remote and hidden circumstance' as opposed to in live performance. Even then, some concealment (method) could be created in order to disguise the technology through some symbolic material as decoy/distraction whereby the voice changer is hidden behind.