[-empyre-] proposal proposal +++

Shu Lea Cheang shulea at earthlink.net
Sun Sep 29 16:11:03 AEST 2019


I want to thank Jamika Ajalon, Isabelle Arvers, Pamela Jennings, andrew 
gryf paterson and Alan Sondheim for sharing the unfinished in processing 
proposals with us. I like reading these proposals which propose, 
project, reflect and enact. Many of our proposals go through 
fund-raising process, accepted, rejected, we advance a bit.

Jamika's fluid code reminds me of Winnie Soon's Queer, vocal code in 
UNFINISHED CODE session during STWST48x5. codes as texts to read, to 
rehearse, to sing, to share with. Isabelle is a brave traveller with 
inquiry mind, charged with passion for game, a much male/geek dominated 
genre, but this world tour she's seeking different kind of game, by 
women, queer, color vibrant. Would be good that she share with us her 
mapping of thisone year touring engagement.  Pamela is an old friend 
from my New York days who from making films of her artist-self has moved 
on to lead institutions, research labs and engage in large scale 
interdisciplinary project, CONSTRUKTS (http://www.construkts.com/)  
platform of a new kind of learning, a very well organized website 
details the development of the project, who's to stop her? this 
powerhorse woman, black and queer? Andrew Gryf Paterson who we 
collaborated on a workshop about land in Kemiö, Finland, digs his hand 
in many pots, fermenting or cooking. Yes,if pushQuarryscar 20 years from 
now.. how to situate it in a wounded landscape? I am overwhelmed with 
Alan's Internet Text, since 1994, yeah 25+ years, 
http://www.alansondheim.org/, i do not know when the scroll bar on the 
right will reach the end...... I press my finger tight on the pad.


Read these gems and let's remain hopeful... love sex and LIVE....


Sl

On 26.09.19 08:29, Jamika Ajalon wrote:
> ----------empyre- soft-skinned space----------------------
>
>
> see below proposal in progress(ions)
>
> IN SEARCH OF A FLUID CODE
>
>
> I am interested in exploring the connection between fugitively, code, 
> and archive (digital, cultural, and material)  as it relates to 
>  instances of resistance with in the African diaspora historically, 
> and more specifically, as something that is mutable rather than  fixed 
> inside singular moments in time. I want to  upset the idea of 
> fugitively as running away from, explore fugitively in the flipped 
> sense: moving towards… a continuance, much in the same way genes 
> (genetic codes) are passed down or, for example, the baton in a long 
> distance race .  The result of this exploration will  manifest as a 
>  published text and an inter-related audio-video “anti-lecture” . The 
> final piece should work as both as a live performative piece and 
> something that   will be a part of an open source collaborative effort 
> investigating and archiving themes around code, narrative, and resistance.
>
> Concept/content
>
> Over the last decade I have performed/exhibited my audio-visual 
> anti-lectures; complex layers of sound, visual data, text, and 
> narrative.   I am now exploring how to create  an “anti-lecture” that 
> transverses virtual space and the live, based around a soon to be 
> published piece “Fluid Code” (Cambridge Press anthology exploring the 
> rise of facism in the west. ).  It is a continuation of my practice, 
> as primarily a writer (poetry, fiction/non-ficition),  in  which the 
> text becomes a part of interdisciplinary audio/visual, often 
> performative work.  This cross over into the interactive virtual, 
> would allow for international collaborative ‘actions’  archiving  the 
> different manifestations of code as it applies to resisting and 
> circumventing  marginalizing  dominant narratives.
>
> In “Fluid code”  I write , “We are living a now when, under 
> imperialism, a nation’s infrastructure continues to work to sustain 
> its memory of itself, whether it be America with its “Dream,” France 
> with its placards pronouncing “Equality, Fraternity, Liberty,” Britain 
> with its “Empire” and royal family, Austria with its adopted banner as 
> the “first victims of Nazism” and so on. A nation’s self- appointed 
> demigods work to sustain a system of reality, by any means necessary, 
> in order to retain and expand power. The so-called “dominant” 
> narrative must be brutally maintained, even as its guises shift with 
> the times.”
>
>
> As artists we have the ability to destabilize  hegemonic narratives. 
> Since early part of this millennium, I have been developing a 
> meta-morphical concept reflecting a movement without a charter, under 
> the ambient auspices of FAR*, (fugitive archetype of resistance) .   
> FAR, is a concept I have developed through 
> writing/publishing/performance, citing WOC’s unique positioning in the 
> terrain of FAR.  The work in ‘Fluid Code’  uses FAR as a jump off 
> point to speak to the ever present  forces of resistance, both overt & 
>  covert,  forever mutating, creating,  a language of resistance that 
> is undetectable by majoriborg surveillance/ appropriation.
>
> Using “code” as  a method of resistance has a long history, from 
> communications tapped out  and  wired during wars/rebellions, etc, to 
> underground movements,  contributing the to the success of actions 
> such as the underground railroad.  Slaves on the plantation would 
> weave stories of escape routes into their spirituals,  and runaways 
> would corn-roll “maps” into their hair.    The ‘vagabonds’ during the 
> 30s left their  coded signs for  other travelers indicating which 
> places were safe to crash, which houses were friendly, and which spots 
> were no go areas for ‘hobos’.   These codes worked to inform and 
> assist those with ‘outsider’ status, whose survival depended on it, 
>  while escaping the  eyeline of social surveillance.   Coded language 
> is also used culturally on a daily and continual basis, perhaps most 
> notably in the“othered” communities, and as such are in constant flux, 
> changing well before they become popular, appropriated with in 
> mainstream culture- even if in this age, where the commodification of 
> culture, though not a new game,  is happening with increasing efficacy.
>
> On a very disturbing level, unrelenting digital feeds are in turn 
> feeding us an interpretation of a version of our realities that we 
> have fed it, then it appears to mirror actually what’s lived. Again 
> this is not a new routine, it’s a time-proven premise, dressed in 
> contemporary garb, using contemporary tech, giving fuel to an age-old 
> loop. How does one free oneself? How and when does one become aware 
> that these feeds are projection, meant to control and brainwash one 
> into believing one is making choices, unaware of how one’s perceptions 
> have been compromised? How do we indeed  break this modern-day Solvent 
> Green prototype commodification, which binds us to what seems to be 
> inescapable cycles of violence?
>
> I would like to start by answering these questions, simultaneously 
> allowing for a collection of archival material , that will both work 
> to illuminate sidelined timelines as well as hopefully contribute to a 
> language of resistance that is uncontainable ,  pointed, yet fluid.
>
>
>
>
>
>
> Concept/Form
>
> A large part of my writings as i present in the “anti-lectures” is 
> comprised of personal narrative (memoire) fictionalized truths (true 
> stories subverted to rinse out lost narratives), poetry  and academic 
> citations (quotes from thinkers, literary and philosophical).
>
> The form of my work reflects the philosophies and themes with in it.   
> Much of my earlier work… (relating to FAR)  drew from the work of 
> Bandotti, her  concept of ‘nomadic subjectivity’ and   Deluze’s ideas 
> on “becoming”.   Both resist a fixed subject and lend to the idea of 
> something that is constantly in a state of change/metamorphosis.   I 
> use different elements, the visual, text , (spoken and written) and 
> sound to reflect both mutable “states” and “narrative” but also 
> because each of these elements colors our perception of our lived 
> experience both independently and collectively.
>
> I would like to extend this form of working into something that is 
> interactive in the “virtual” as well performable in the live.   While 
> investigating the correlation between computer/algorithm “coding” and 
> every day coding (with in language, art, etc) , I would like to work 
> with those who specialize in new media tech to research ways in which 
> I can bring my concept to practical realization.
>
> I will also take aspects  of the concepts pushed forward in my essay 
> “Fluid Code” and more thoroughly research them: 1) the history of 
> resistance through code passed through art language and other means 
> and what we can learn from them to apply to the present 
>  circumstances.  2) investigate historical instances,  as well as the 
>  continual possibilities of subverting language and archetype.
>
> While doing this I will also be creating a script (text/audio visual) 
> merging both a personal narrative with that of other artist and 
> thinkers which inform both my research and impetus.      The final 
> piece should work as both as text driven (and published) live audio 
> visual, performative piece and something that  be a part of an open 
> source collaborative effort investigating and archiving themes around 
> code, narrative, and resistance.
>
>
>
>
> -- 
> www.jamikaajalon.com <http://www.jamikaajalon.com>
> www.facebook.com/jamikaajalon.artistpage 
> <http://www.facebook.com/jamikaajalon.artistpage>
> www.itchysilk.com <http://www.itchysilk.com>
> http://inter-zones.org <http://inter-zones.org/>
>
>
> _______________________________________________ empyre forum 
> empyre at lists.artdesign.unsw.edu.au http://empyre.library.cornell.edu

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