<html><head><meta http-equiv="content-type" content="text/html; charset=utf-8"></head><body dir="auto"><div dir="ltr"><meta http-equiv="content-type" content="text/html; charset=utf-8"><div dir="ltr">Sorry - forgot to sign last night's post. Here are the tarot cards that I posted Tuesday. <a href="https://bevpike.com/works/androcene-antidote-tarot/">https://bevpike.com/works/androcene-antidote-tarot/</a> Only up for till the end of the month....fear of Patriarchal Grant Adjudicators!</div><div dir="ltr"><br></div><div dir="ltr">Bev Pike</div><div dir="ltr">Winnipeg</div><div dir="ltr"><br>On Mar 25, 2021, at 10:31 PM, Bev Pike <bevpike1@icloud.com> wrote:<br><br></div><div dir="ltr"><meta http-equiv="content-type" content="text/html; charset=utf-8"><div dir="ltr">What an interesting week it's been. I am indeed honoured to be part of it.</div><div dir="ltr"><br></div><div dir="ltr">My role is that of the eccentric artist from mid-continental Winnipeg. There are a lot of us. Why is that? Well, Hamilton's drive to photographically prove paranormal activity was partly based on ley line beliefs originating in England. Where I live and work is under, or on top of, a convergence of several of these lines. (Do a ley lines image search for some beautiful other-worldly cartography. <a href="https://northernwilds.com/ley-lines-earths-energy/">https://northernwilds.com/ley-lines-earths-energy/</a> )</div><div dir="ltr"><br></div><div dir="ltr">This means that nearly everyone in Winnipeg's art scene has paranormal sitings that involve clairsentient experiences. Mantel pictures jumping over ornaments. Mirrors extruding, then abruptly sucking in, spirits in the forms of light. Old men so angry at the mistress with the punk decor that they terrorize householders. Mean male ghost who prevents the old Masonic Hall from being sold, used or renovated. The Victorian apartment building that recently mysteriously burnt down was colloquially called, if I remember rightly, Exorcist House. Ghosts in our provincial legislature, built a hundred years ago using all kinds of mystical symbols from the Hermetic Code, thrive. There are gazillions of haunting stories in Winnipeg.</div><div dir="ltr"><br></div><div dir="ltr">So, paranormal integration is part of our cultural fabric. It is easy to visit the clairsentient realm here. It produces quite wonderful and surprising insights, like those Erica described in her residency. I've learned to float in it now, listening to animals, conversing with trees and smiling or snearing at objects. Very good for the studio practice! See Sunken Seance Meeting Hall here <a href="https://bevpike.com/">https://bevpike.com/</a></div><div dir="ltr"><br></div><div dir="ltr">In the tarot cards I created for this forum, sensuality was important to the words I chose. However, since these cards are born digital, actual touch is absent so far...unless readers clasp their cheeks in a giggle as they read, let's say...</div><div dir="ltr"><br>On Mar 24, 2021, at 4:52 PM, Jennifer Fisher <jefish@yorku.ca> wrote:<br><br></div><div dir="ltr"><span>----------empyre- soft-skinned space----------------------
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<p class="MsoNormal"><span style="font-family:Helvetica">Hi All,<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:Helvetica"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:Helvetica">What an inspiring array of posts. The Age of Aquarius, as Arshiya has notes, marks an epoch of expanded consciousness and individual freedoms. This planetary alignment arrives as a moment of promise in
expanded intuition where at the same time privacy is in danger of being eroded by the surveillance capitalism of big data. I resonate with Sally’s perception that the mood is at once “super-charged…and vulnerable.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:Helvetica"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:Helvetica">It is interesting that Spiritualism arose at an affective climate of collective grief (the American Civil War) coinciding with emancipatory social movements, in particular abolitionist feminism. The current
paranormal opening, likewise, arrives at the crest of collective grief stemming from the pandemic and Black Lives Matter. The tone of the moment was presciently anticipated by Okwui Enwezor whose posthumous Grief and Grievance: Art and Mourning in America
is now on exhibition at the New Museum (<a href="https://www.newmuseum.org/exhibitions/view/grief-and-grievance-art-and-mourning-in-america-1">https://www.newmuseum.org/exhibitions/view/grief-and-grievance-art-and-mourning-in-america-1</a>).<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:Helvetica"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:Helvetica">But I wanted to pick up the thread of Renate and Tim’s work on sense/sensation signalled by Ann. It appears that touch and the tactile interface operate in relation to intuitive technologies such as the
séance (where hands are held in a circle to create a current supporting mediumship), to Chrysanne’s aura photographs (which involved a tactile biofeedback interface to generate images), to the relationality of the Tarot reading (where the handling of cards
has operated emblematically in allegories of touch since Caravaggio). <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:Helvetica"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:Helvetica">In regard to the performativity of intuition: Ruth, I’d be interested in hearing more about the staging of the playing card cartomancy of the Canadian clairvoyant you mention; and Bev, might you envision
the role touch in reading your new Tarot cards? <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:Helvetica"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:Helvetica">And on the documenting of the séance: Serena, do the mediums in the Hamiltons’ photographs directly address the photographers when in a spirit circle? Chrysanne, how did you orchestrate the aura photographs
to have non-English-speaking subjects peer directly at the lens (as many of your compelling subjects do) with their hands on the biofeedback interfact.
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:Helvetica"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:Helvetica">Warmly,<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:Helvetica"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:Helvetica">Jennifer<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:Helvetica"><o:p> </o:p></span></p>
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<p class="MsoNormal"><span style="font-family:Helvetica">Jennifer Fisher<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:Helvetica">Professor Contemporary Art and Curatorial Studies<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:Helvetica">Department of Visual Art and Art History CFA 252<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:Helvetica">York University 4700 Keele Street<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:Helvetica">Toronto, Ontario M3J 1P3<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:Helvetica">jefish@yorku.ca<o:p></o:p></span></p>
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<p class="MsoNormal"><o:p> </o:p></p>
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