Re: [NetBehaviour] book question

[Max Herman via NetBehaviour]

Hi Johannes,

These are great images, and congrats on getting the right access for the 
under-construction photos!  Such moments are very helpful to have in one's 
internal collection I think.

It reminds me of a time some years ago when they were building a new addition 
to the local modern art museum, which was to be very contemporary and 
innovative.  There was a large open pit at one point as they dug out the 
foundation, which I liked a lot.  Just a large pit surrounded by a chain link 
fence.  Not being much of a photographer I wasn't sure how to "note" this in a 
way that would preserve my thoughts, impressions, associations, and the visual 
memory; say, which is perhaps to say, the story and image?  I knew the pit 
would soon fill in.  To somehow capture the transience of the moment, my own 
ambiguous emotional state (which was was what it was at the time for myriad 
reasons both utterly and completely separate from the pit and somehow 
reflective of it), and to articulate the "stage setting" as it were, I opted to 
try for a gesture or partially vague action.  This was to throw a lot of small 
pieces of marked paper into the pit from outside the chain link fence.  These 
would just be rained on and trod into mud within days to be sure.  They were to 
have been small pieces, about a half inch square, and on heavy paper so that 
they could be thrown over and ideally about 20 feet past the chain link 
barrier.  The marking on each paper would be a black circle with a slight x-y 
axis to mark each paper's planar location and rotation during flight, only on 
one side of course, and because a black dot is kind of like a mote of soil 
which the pit was.  I wasn't sure if I would take a photo or not, leaning 
toward not partly because of my aforesaid incapacity to see a good photo to be 
had.  The "documentation" would just be whether or not any worker in the pit or 
some passersby saw the papers, also necessarily inexplicable.  I never got 
around to doing this in time so it never happened other than as a story and 
image of sorts in my head, a personal parable about not really anything, 
occasionally related to others.

I've never seen the Rothko Chapel but it came up recently in my reading, in 
relation to what I'm not sure.  I do see the correlation with portals or 
passage-spaces to the infinite, or unknown, or uncertain, objects for 
contemplation thereof, in the black paintings.  I wonder if the Rothkos are 
landscape, portrait, or both?  The black square by Malevich has many references 
(not my favorite painting but maybe relevant) but feels almost antipodal to the 
Rothkos (which I haven't seen) in tone.  I'll have to re-read Exit West to find 
the mentions of doors as darkness but I'm sure there were a couple so I will 
track them down.

A door or doorway is an interesting thing.  It's not really a space to reside 
in, so it symbolises transit in a way.  It doesn't really correspond to a 
theatrical or painted space such as portrait, landscape, or proscenium.  There 
is an element of agency or choice (go through or don't go through), the "binary 
on/off switch" in your quotation, and aspects of time sequence (departing, 
returning).  Unlike the mentions of windows you cite, which are mainly to look 
through and allow in or keep out atmosphere (sound, temperature, surveilling 
eyes, and who knows, maybe even personal computing and internet content), doors 
are designed for human bodies to walk through -- they have the shape of a 
person walking.  Darkness can just be opaqueness, uncertainty, or emptiness of 
a highly spatially charged non-space.  As the book states, "We are all migrants 
of time."

Having finished the book now I see that some of the doors are definitely 
magical and benevolent, like the old man's shed in his backyard in Paris 
through which he follows the stranger to his art studio in Buenos Aires.  Hence 
doors of imagination and emotion perhaps are also invoked.  Might there also be 
references here to art itself, aesthetic existence itself, which cannot be 
merely a given set of circumstances but always involves an ingredient of 
translation, transportation, uncertainty, choice, and irrevocability?  Many of 
the doors in Exit West are indeed light or less dire, less unknown; daily 
habits or garments even, like Nadia's robe, which she used (some in my book 
group said) as a way to screen people out and gain an element of camouflage for 
her daily escapes -- not a door keeping her locked in but one screening others 
out and allowing her to move about more freely, literally and figuratively, 
just as Saeed had to wear the robe in order to enter Nadia's apartment as her 
sister, and hence without danger of death from the militants.  Some doors such 
as those of return to the memory of those lost are on the contrary glowing with 
color, detail, and light.  But there is also always the dire, the absolute 
darkness, finality, and inevitability of mortality, or what Saeed understood

Re: [NetBehaviour] Round table discussion on performance in and with the digital space

[Joumana Mourad]

Dear All 
I trust this finds you well!
I would to invite you digitally or virtually to our round discussion.


Open Online Theatre is hosting the second in a series of round table 
discussions about dance and performing arts created in and with the digital 
space. 
It will be at: Siobhan Davies Dance on 2/3/20, 13:45 for a 2pm start. 
Refreshments provided, and subject to permissions we will create a podcast. 
 Some topics we plan to cover: 
What is the artist/curator response to the mainstream presentation of live arts?
What are the new and future models of monetisation offered by technology's 
interaction with performing arts? Can direct monetisation compromise artist 
integrity?
How are performance venues to be approached about digital work?
Our first round table was attended by Rob La Frenais, Kwesi Johnson, Deej 
Fabyc, Max Fedyk, Pepa Ubera, Joumana Mourad and Danielle Imara. We are so far 
expecting attendance from Rob La Frenais, Marc Antoine and Andrew Hurst, One 
Dance UK.
Please let us know if you can make it. Thanks!
Kindest

Joumana Mourad
Artistic Director
Tel: 07930 378 639
 <>joum...@ijaddancecompany.com 
IJAD Dance Company
Registered Charity: 1080776 
www.ijaddancecompany.com 
@IJADdance
Facebook: IJAD Dance Company page
Curator:http://www.openonlinetheatre.org 

Support IJAD
https://www.giveasyoulive.com/join/IJAD 


To join our mailing list please subscribe at: 
http://ijaddancecompany.com/contact/ 
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[NetBehaviour] 19th February Deadline _ CALL FOR ART PROPOSALS _ Creative Commons Global Summit 2020

[Daniel Pinheiro via NetBehaviour]

Hi everyone,

Although only three days left to apply, the 2020 Call for Arts Proposals
for the Creative Commons Global Summit is still open until next Wednesday.
More information here:
https://summit.creativecommons.org/2020-call-for-arts/

CC licensing of the work is not mandatory but it is intended for everyone
whose work is in relation to cc, open culture, copyright.

All the best,

Daniel

--
Daniel Pinheiro

http://daniel-pinheiro.tumblr.com
.:+351918814598 / Skype: dapinheiro1

Print Traffic Coordinator | Queer Lisboa and Queer Porto - International
Queer Film Festivals 
Arts Lead | Creative Commons Portugal


texts/posts:
>>> Mediated Motion / LAND PROJECT - Moving Together Across Screens

>>> The Joy and Sorrow of Unstable Connections

>>> The Medium is NOT the Message

 (also @ cyborgs.peripheralforms.com)
>>>
The
State of Telematic Art


projects:
>>> 26.04.2019 | MEDIATED MOTION / LAND PROJECT

>>> 19.07.2018 | Reading the Nauru Files (collaborative online reading)

>>> 30.06.2018 | Distant Movements 
>>> 08.06.2018 | i.mediated body @ NowNetArts Festival NYC

>>> feb . may 2018 | LIF3STRE/\M - Research

>>> 29.03.2018 | Online En-semble - Entanglement Training / Art of the
Networked Practice Symposium 
http://daniel-pinheiro.tumblr.com/internet
http://landproject.tumblr.com
http://copywrong-cc.tumblr.com

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