[-empyre-] liminal screenality - a critical opera in three shots and a walking poem

Ricardo Dominguez rrdominguez at ucsd.edu
Fri Sep 4 00:49:50 EST 2009

Hola all,

[Critical Artist marching to the drum beat round and round on Camera One:]

The question of the errant condition to rupture the enfranment of techne
and the call
for inventio for the reconfiguration of the tool is not an either/or tale
(as some of you
have pointed out) - the critical media artist core gesture is to
disturb/and create the and/both (with the  list's theme of possible types
of liminal screenality). This allows for recalling/replaying/remaking
critical disturbances of the material/immaterial condition(s)
on multiple levels - so for me the question becomes one redirecting the
communicational commodities that now in flux in the current ideologies of
the embedded real, the embedded
networks of things, the embedded affect-in-effect-of-augmented-circuits.

[Use/less artist standing in an alley behind your home on Camera Two]:

Peek at:

I got some yesterday and I must say the world looks quiet wonderful when I
set it for
neo-tech-noir filters (even this e-mail seems poised for danger in the

[Media Artist singing from the new opera by W.B. from a roof-on-top of the
world on Camera Three]:

 "AURA! AURA! O'taint of the Mirror!"

"O'technology of affect."

"0' My Work of Art in the Age of Mechanical Reproduction"

Chorus Enters and chants: "Innervation! Innervation!

As as artist drifts by whispering to some 2020 total mobile cloud:

"Film serves to train human beings in the practice of those
apperceptions and reactions required by the frequentation of an
apparatus whose role in their daily life ever inceases. To make
this whole enormous technological apparatus of our time into the
object of human interiorization and appropriation [Innervation]
-- that is the historic task in whose service film has its true


[FADE to White as a POEM speaks between borders]:


by Amy Sara Carroll

Love is not all: it is not meat nor drink

Nor slumber nor a roof against the rain;

Nor yet a floating spar to men that sink

And rise and sink and rise and sink again;

Love cannot fill the thickened lung with breath,

Nor clean the blood, nor set the fractured bone;

Yet many a man is making friends with death

Even as I speak, for lack of love alone.

XXX, Edna St. Vincent Millay

The poems—“Al-Khwārizmī,” “Precession,” “Transition,” and
“Dubliners”—are representative of my collaboration with Electronic
Disturbance Theatre (EDT) on the Transborder Immigrant Tool. If the tool
is slated to be distributed locally through NGOs on the Arizona-Mexico and
California-Mexico border, but also imagined as a global project under
development, my own involvement in that ongoing process is linked to the
question of what constitutes sustenance in the quotidian of the
conceptual, on the varied musical scales of the micro- and macro-. For,
often—rightly enough—conversations about crossing the Mexico-U.S. border
refer to disorientation, sun exposure, lack of water. The Transborder
Immigrant Tool attempts to address those vicissitudes, but also to
remember that the aesthetic—freighted with the unbearable weight of
“love”—too, sustains. A poetic gesture from its inception, the Transborder
Immigrant Tool functions, via the aspirations of such a dislocative
medium, as dislocative media, seeking to realize the possibilities of
G.P.S. as both a “global positioning system” and, what, in another
context, Laura Borràs Castanyer and Juan B. Gutiérrez have termed, a
“global poetic system.” The Transborder Immigrant Tool includes poems for
psychic consultation, spoken words of encouragement and welcome, which I
am writing and co-designing in the mindset of Audre Lorde’s pronouncement
that “poetry is not a luxury.” The particular poems included here—part of
that larger collection, which codeswitches between languages—are for a
predominantly English-speaking audience, who recognizes uncanny connection
(i.e., for the sake of a Dublin/Belfast presentation, that of the Irish
and the Mexican, historically made manifest in pheonomena like the San
Patricios, artistically acknowledged vis-à-vis travelling exhibitions such
as the 1995-97 Distant Relations). Postscriptually, Derrida’s vision of
hospitality, indexed as scrolling text in “Dubliners,” speaks to the
Transborder Immigrant Tool’s overarching commitment to global citizenship.
For, the excerpt, itself infused with the “transversal logic” of the
poetic, acts as one of the Transborder Immigrant Tool’s internal
compasses, clarifying the ways and means by which I and my collaborators
approach this project as ethically inflected, as transcending the local of
(bi-)national politics, of borders and their policing.


[FADE to BLACK: credits roll]

Collaborative inspiration Walkingtools: Brett Stalbaum

Walkingtools (hiperGEO project) @ Landscape 2.0, Oldenburg (Germany)

Text of poems: Amy Sara Carroll

Video poems design: Ricardo Dominguez, Micha Cárdenas, and Elle Mehrmand

Voices included in the poems: Micha Cárdenas, Amy Sara Carroll, Césaire
Carroll-Dominguez, Patrick Carroll, and Ricardo Dominguez

Ricardo Dominguez
Associate Professor
Hellman Fellow

Visual Arts Department, UCSD
Principal Investigator, CALIT2
Co-Chair gallery at calit2
CRCA Researcher
Ethnic Studies Affiliate
Center for Iberian and Latin American Studies Affiliate

Hemispheric Institute of Performance and Politics,
Board Member

University of California, San Diego,
9500 Gilman Drive Drive,
La Jolla, CA 92093-0436
Phone: (619) 322-7571
e-mail: rrdominguez at ucsd.edu

Project sites:
site: http://gallery.calit2.net
site: http://pitmm.net
site: http://bang.calit2.net
site: http://www.thing.net/~rdom

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