3dwardsharp & lorene bouboushian
research rehearsal or really to reify, anything
Community Capitalism
Capitol-ism/Autocorrect
engagement, involvement, involvement as mutation.
practice, praxis, survival
the topography of survival, the geography of capitalism, the navigation of time, scheduling money, scheduled payments
affect of self upon community
https://affactionresearchcenter.wordpress.com/
user mutable spectacle Does that just make it more capitalist? Like a ‘u do u’ style of production (if you want to call it that)…does it maybe even weaken the performance? It’s even more like this can only happen with you. Agency of the audience over a performance >>> i mean, the agency seemz like it will alwayz be there, what if we, metaphorically “shine a light upon (it)((the spectacle, the capitalism, the capitalism-acts))”. measuring impact
offering ontologies for proper consumption. community is training. or learning proper modes, models, or ontologies. of, and on, the self. the self’s autonomy. the value of autonomy. the political correctness of autonomy. the fashion of autonomy. the angst of autonomy. the, or a, self as centralize reference point. the celebrity self. the self as celebrity. the lionized self. the discovery of self-discovery.
>>>protagonizing the spectacle/reifying, hardening it, shine a light on it Make it even worse, yes. Make it even more like you have to be here for me to be ‘important.’ but also a kind of ideal space, where your participation actually matters. Something like what that person T is trying to do–does make them more important but also grows the work outside the boundaries of just the thing you come to see.
https://en.wikipedia.org/wiki/Kyriarchy
Is it possible to engage people and not be implicated into the capitalism of performance? I guess the way i ‘say’ i’m doing that is by ‘sharing’ the work, a term i’ve often used in email blasts and things like that. I’m sharing a space for you to be in with me, i say my work is somehow ‘about’ your presence, you make it exist. But also not. Then again it’s also not about me/all about me. It is how i choose to exist for that time being, to construct an existence around the time that performance takes as well. A ‘way of life’ if you will.
So then performance is about the space in between self and other, the ‘act.’ done and witnessed, done as witnessed, sometimes i witness myself during performance and that is the act but then your witnessing ‘makes’ it a performance?
Fuck you! Fuck me! That’s kinda performance for me these days, and probably why i’ve been refusing to rehearse
sharing the ‘intimate’ space of performance Cam-ing >>> making sci-fi reference >>> hearing someone quote southpark Watch from outside the windows >>> let the architecture settle into your concious
Choose a time that works for you/SIGN UP Begs that you show up
Fuck (captial) up/charge more for less time
Who? >>>community Why that particular who?
A particular public vs any public Begging the attention of a particular public can be just as capitalist
Wiki–writing that’s mutable over time Painting is mutable over time then you can’t change anything back to the way it was You can only accumulate change that then can be undone
Well i guess writing you can change but then you can’t make it back the way it was unless you remember or you keep what it once was somewhere But you can keep changing it And still see what was there, if you want to keep what was there, there
User effected writing=wiki
Speech acts Text acts [look into]
Seeing is such a problem Seeing is conditional, effected by so many conditions The act of seeing isn’t actually seeing very much It’s projecting, problematizing by your very presence, thinking about other stuff while you’re sitting there watching, only partially seeing Same with memory, there’s no mis-remembering and there’s no mis-seeing Perception in itself flawed
on incubation: where are we? what are we doing here? why so many questions?
j described pdx as an incubator. and i applied that model to my perspective of this town. it seemed to apply to my own perspective of process. since i’ve a studio here i’m, in some ways, more, well, studious than ever. but maybe i just became afraid of being read as improvisation. that terms frightens me for some reason.
i think that a chat-room style scrolling feed of text would be interesting. like pirate pad, does anyone remember pirate pad? it’s like writing to someone, but also overwriting someone. quite clever.
…so that’s gonna be 1 locker & 0 cabbinz, is there anything else you’d like to order? nope? please pull forward.
From esther neff http://thefenserf.tumblr.com/ we self-organize in context as parallax/autonomous ideologues and zealots who are psychotically willing to risk everything dominantly perceived-as-valuable. Future gain (towards whatever idealistic agenda) and fulfillment of interests (in whatever impossible future utopian situation) are worth far more to us than any immediate loss of assets or safety. More simply, we do not find the threat of homelessness, being ignored, having bedbugs, never being able to have kids, going to bed hungry, being stuck in one place, etc as enough of a loss to justify a sell-out. We operate in states of romantic delusion, political rage, and though we may panic constantly, we still refuse to sell our bodies or our minds into valuation schemas bent on de-valuing bodies into identity-objects, homogenizing conceptualizations, and capitalizing-upon our very processes of moving, thinking, feeling, being. We do not objectify ourselves or our “workings” into asset-products at all, we grit our teeth and keep intentionally performing in time-space, directly real-izing our values/valuations.
Zeitgeist of performance art now [this is truly bullshit] Ideals and beliefs vs. mood Or as mood Vs General lack of belief Belief in ‘my’ ‘self’ And lack of belief in ‘the world’
sissy spacek
trading mom (or the mummy market)
kenneth anger
lucifer rising
that one time kenneth anger pulled someone (female?) by their hair outside because kenneth anger wanted them to pay for the cab. https://en.wikipedia.org/wiki/Kenneth_Anger#cite_ref-83