<html>
<head>
<meta content="text/html; charset=windows-1252"
http-equiv="Content-Type">
</head>
<body bgcolor="#FFFFFF" text="#000000">
<p>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.</p>
<p>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
(<a class="moz-txt-link-freetext" href="http://www.construkts.com/">http://www.construkts.com/</a>) 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
<meta http-equiv="content-type" content="text/html;
charset=windows-1252">
<span class="title"><span><span class="title"><span class="about"><span>Kemiö,
Finland, </span></span></span></span></span>digs his
hand in many pots, fermenting or cooking. Yes,if push<font
face="Liberation Sans, sans-serif"> Quarryscar 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,
<a class="moz-txt-link-freetext" href="http://www.alansondheim.org/">http://www.alansondheim.org/</a>, i do not know when the scroll bar
on the right will reach the end...... I press my finger tight on
the pad.</font></p>
<p><font face="Liberation Sans, sans-serif"><br>
Read these gems and let's remain hopeful... love sex and
LIVE....</font></p>
<p><font face="Liberation Sans, sans-serif"><br>
Sl<br>
</font></p>
<div class="moz-cite-prefix"><font size="-1">On 26.09.19 08:29,
Jamika Ajalon wrote:<br>
</font></div>
<blockquote
cite="mid:CAM0TTE4VW9q_5fBa4e-4PpaJxz_9wbeVaxi0WJfcKHapJ5waTw@mail.gmail.com"
type="cite">
<pre wrap=""><font size="-1">----------empyre- soft-skinned space----------------------</font></pre>
<font size="-1"><br>
</font>
<fieldset class="mimeAttachmentHeader"></fieldset>
<font size="-1"><br>
</font>
<div dir="ltr">
<div class="gmail_default" style="font-size:large"><font
size="-1">see below proposal in progress(ions)<br>
</font></div>
<div class="gmail_default" style="font-size:large"><font
size="-1"><br>
</font></div>
<div class="gmail_default" style="font-size:large"><font
size="-1">IN SEARCH OF A FLUID CODE<br>
<br>
<br>
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.<br>
<br>
Concept/content<br>
<br>
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. <br>
<br>
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.”<br>
<br>
<br>
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. <br>
<br>
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.<br>
<br>
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?<br>
<br>
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.<br>
<br>
<br>
<br>
<br>
<br>
<br>
Concept/Form<br>
<br>
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). <br>
<br>
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. <br>
<br>
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.<br>
<br>
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. <br>
<br>
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.<br>
<br>
<br>
<br>
</font></div>
<font size="-1"><br>
-- <br>
</font>
<div dir="ltr" class="gmail_signature"
data-smartmail="gmail_signature">
<div dir="ltr">
<div>
<div dir="ltr">
<div dir="ltr">
<div><font size="-1"><a moz-do-not-send="true"
href="http://www.jamikaajalon.com"
target="_blank">www.jamikaajalon.com</a><br>
<a moz-do-not-send="true"
href="http://www.facebook.com/jamikaajalon.artistpage"
target="_blank">www.facebook.com/jamikaajalon.artistpage</a><br>
</font></div>
<div><font size="-1"><a moz-do-not-send="true"
href="http://www.itchysilk.com" target="_blank">www.itchysilk.com</a></font></div>
<div><font size="-1"><a moz-do-not-send="true"
href="http://inter-zones.org/" rel="noreferrer"
style="color:rgb(17,85,204)" target="_blank">http://inter-zones.org</a> <br>
</font></div>
</div>
</div>
</div>
</div>
</div>
</div>
<font size="-1"><br>
</font>
<fieldset class="mimeAttachmentHeader"></fieldset>
<font size="-1"><br>
</font>
<pre wrap=""><font size="-1">_______________________________________________
empyre forum
<a class="moz-txt-link-abbreviated" href="mailto:empyre@lists.artdesign.unsw.edu.au">empyre@lists.artdesign.unsw.edu.au</a>
<a class="moz-txt-link-freetext" href="http://empyre.library.cornell.edu">http://empyre.library.cornell.edu</a></font></pre>
</blockquote>
<br>
</body>
</html>