Thursday, March 12, 2009

Perishable Subjects (Over Chai)

Scrawled in chalk on top of the wide blackboard above the bar in City O' City:
...and then he added that he himself had no home, or rather that his home consisted of motion, of journey. He said that he could only live by crossing from one dream into another, from one landscape to another, and that if he remained in one place too long, he would perish.
Over Bahkti Chai, after reading the handwritten quote above, someone said: "That reminds me of your film." Or did they say "my film"? A sense of propriety dissolved and another subject, All the Presidents' Girls, took over. From there, we drifted into why people would buy houses in Cleveland over eBay for $4000 without even seeing them (and then, what it must have felt like, after flying in to see what they bought, and soon finding out "that the house had been vacant for two years; scavengers had torn apart the walls to get the copper piping, ripped the sinks from the walls and removed the boiler from the basement" and that "the city had condemned the house and would now charge to demolish it.")

Seven minutes later another voice at the table, as if thinking out loud but wanting to connect with their lunch partners, said: "Did you just hear what I said? That's strange. You asked if after that meeting I had if I thought there would be an exhibition. And then I said that lately all of the meetings I have been going to thinking that there was a chance of an exhibition I was leaving thinking that I needed to do something to help them. To help them stay alive or whatever it is arts organizations and venues do as they struggle through the end of capitalism as we know it."

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Monday, March 09, 2009

Draft of Fragment from a Soon-To-Be-Published Artist E-Book

As the Immobilité website moves into its main phase of production so that its release can coincide with the museum opening in April, I am putting the finishing touches on the tentatively entitled Director's Notebook that I will be publishing as part of the website launch. A frament reads:
"... mobilize the body into a hypnotic state of psychic awareness."
Or so the story goes.

One version of Immobilité uses the quote above (that I just made-up today) to tap into the unconscious relationship between images, bodies, landscapes, generative rhythms, and movement.

There is a deep interior movement or what I now refer to as an inner choreography that becomes para-ritualistic for practicing remixologists who are optimally situating their bodies to transform experiential matter into muscle memory that triggers emergent forms of fictional (literary) presence.

Cinematic precursors include, among others, Maya Deren. Deren embodied not just the trajectory of what we still sometimes call "the woman's movement" but perhaps more importantly, woman's movement itself, expressed as a choreographed trance narrative space transfigured in time, one that conducts deep interior investigations into rhythmanalysis and bodily harmolodics.

Trance narrative rhythm is transmitted body-image to body-image as part of larger intersubjective process of transgression. Bracha Ettinger writes of this radical intersubjective space as one of co-poiesis:
Copoiesis is the aesthetical and ethical creative potentiality of borderlinking and of metramorphic weaving. The psychic cross-imprinting of events and the exchange of traces of mutually (but not symmetrically) subjectivizing agencies, occurring via/in a shared psychic borderspace where two or several becoming-subjectivities meet and borderlink by strings and through weaving of threads, and create singular trans-subjective webs of copoiesis composed of and by transformations along psychic strings stretched between the two or several participants of each encounter-event. Thus, a matrixial borderspace is a mutating copoietic net where co-creativity might occur.
In Immobilite, this psychic border crossing and intersubjective blurring takes place among the mobile images as they circulate in the matrix of mutating flows and remix (with/in) each other. As a fluid performance tracing the deconditioned mind as fictive agency immersed in the perpetual postproduction of presence, the physiological energy of the collaborative artist-mediums emerge in trance narrative space as a kind of mysterious resonance.

As Deren once wrote in her essay "An anagram of ideas on art, form and film":
But man's great dream is to achieve a whole whose character is far more mysterious and miraculous -- that dynamic, living whole in which the inter-action of the parts produces more than their sum total in any sense.
Things have changed since Deren's Meshes, as we now model behavioral tendencies and creative methodologies that tune in to the Mosaic Law, i.e. "the law of mosaics or how to deal with parts in the absence of wholes."
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