Wednesday, 10 June 2020

-> COLLECTIVE PLAYLIST <-

When we were 16 and had finished our final exams at high school we organised a party in the woods nearby. Word spread quickly through the last week at school, and soon our whole school year were making their way across the back fields on Friday night, avoiding the roads as much as possible, to avoid having the drink you'd been collecting through the previous weeks being poured away by police. We followed a series of texted directions and sketchy maps to get to the spot, backpacks with sleeping bags, speaker systems.

As the night went on the different cliques of the school melted into each other. Aux speaker systems dropped out of battery, and fires got bigger, set in metal bins we had found nearby, using our exam textbooks as kindling. It got late, police arrived with a dog unit, and the party scattered, distant phone torches glinting through the trees. 

There was a heat wave through the next weeks, and I started to notice fire engines going up the track to the woods. Later an article was published in the local newspaper about small fires which were springing up in the woods, and our headteacher had given a statement. The fires had gone down into the roots, it hadn't rained for weeks, and the soil was rich in peat, almost like clay but made up of partly decayed vegetation. The fire had incubated and dispersed in this tangle of roots, a network of slow fuses: distributing it around until it would sprout back up to the surface in various places.

The planet is extremely flammable, with oxygen and carbon based plants. Prehistoric wildfires would haunt the locals, from lightning into dry grass, the embers would trace the wind routes that interlaced around the earth. 

Before fire was domesticated, it existed on a scale and with a motion which was unimaginable. They struggled to harness the fires that surrounded them, wanting to compress it down, to a scale that was comprehendible: into a fire pit, fireplace, camp fire. They wanted to see the edges of it, it would make them feel comfortable, to be able to make a drawing of it, take a photograph of it.
To try and figure out the process, they looked from the fires back to their source, via the lightning and upward into the deep grey areas of the clouds, seeing the turbulent swelling of wind knotting in on itself. Inside the clouds, electrons were becoming loose from the cycle of heating and cooling, building electricity, which would discharge back towards the earth.

To mimic this cyclic friction, you can use a small maquette made of sticks, making twisting motions, forming whirlwinds between the sticks in the same way that the clouds would fold in on themselves, moving continuously until a spark breaks loose. These fires were later made portable in ceramic containers.

This domestication of fire catalysed many activities: cooking, ceramic production, protection from animals that preyed on them, prolonging the days and providing a space for story telling in the nights. The most dedicated of the storytellers would use the shadows, cast from the fire, to perform silhouette routines , projected onto the sides of the tents, playing out two dimensional stories, in an early mutation of cinema. In the same way, they would demystify this new technology, bring it closer, making it easier to weave into daily thought and activity. 

The locals of the settlement would come to watch, bringing nuts and seeds gathered from the day, watching the performances and relaying them onto families and friends in gatherings throughout the following days.

As the seeds travel through the digestive system, their ellipsoid shapes giving them a streamlined form to move ahead quicker than other foods, they come under various forces, both chemical and mechanical, gastric acid breaking down the strength of their outer shell, and the churning motion of the intestines attempting to grind out their nutrients. Some seeds would crack at this stage and be fully ingested into the body. Others would travel through unharmed, but hadn't received enough processing from the stomach acid, which was needed to weaken the shell enough for a plant to germinate when you poo.

Some seeds would get the balance perfect, mixing with enough acid to open their shell, letting some of their protein leak into the bloodstream, whilst retaining enough form to continue through the system and be able to grow after.

The culture I experienced when growing up was infused into plastic. A further compression of organic material and decayed vegetation over time, developing into oil, coal and natural gasses, extracted from the earth, processed and moulded. 

This cultural jelly (made up of a mash of songs, movies, images, references, perspectives from my childhood) was given to me incased in polypropylene VHS, polycarbonate CDs and DVDs, their aerodynamic discus form allowing them to be easily passed from hand to hand, stacked in rows aboard the cargo hold of planes, and ricocheted between cities. 

Later this info was strung out into a series of copper ropes, cables insulated in rubberised PVC, along which rhythms of electrical sparks could travel. Sound, moving image and text, broken down into an encoded series of rapid bursts, thrown forward along these new routes, and unpacked at the other side, reforming into it's original sonic or visual structure.

The new magicians of instagram, youtube, snapchat, tiktok, are casting and compressing stories, translating them into these bundles of sequenced impulses, which skim through the cables, surging up communication towers and flexing into electromagnetic waves, volleyed between dishes, glancing at each other from the fringes of the stratosphere, to fall back down and bloom on multiple screens. 

They understand how to interrupt these frequencies perfectly, embossing their words into flame digit sequences, which then disperse within the PVC insulated tunnels. Forming these vehicles to withstand the compression, digestion, translation, re-understandings, refreshing contexts: being applied over social situations, reformed in differing qualities of sonic frequency, from the phone speaker, or a car going past, or a 2 second clipping. They need to withstand the algorithmic crunchings, to be porous enough to leak from various devices, whilst retaining their structure enough to bloom. 

Monday, 4 May 2020

Bio (March 2020)

I'm coming from a background in arts, with an interest in renewable energies. I would normally be working with sculpture, and more in clothing / fabric in the last year. I graduated from Slade school of art three summers ago, and whilst studying there a group of us opened Limbo, an arts + events space (https://old.limbolimbolimbo.com/). Developing spaces and working within groups has always been a super exciting and central catalyst for me. Since graduating, and for the two years afterwards, I had been working directly together with Victor Ruiz Colomer (who I started Limbo with), between London and Barcelona. Things clicked quite quickly, and we got accepted to do various projects in 2018, as part of Manifesta in Palermo, in the Moscow young biennale and a group show in Helsinki. We started working a lot with solar elements, paper making, and general processes of recycling material: both physically in sculptural elements and in the way each project would regurgitate into the next. We were running parties, running small crit sessions, live broadcast theatre experiments; documentation of this side of things is over here.. (http://joehighton.com/). Through winter I was living back at my childhood village, working as a solar panel installer for a local family, and had a studio outdoors within a farm complex. Since February this year, I have been based in Berlin, here to work as an assistant for a friend on a new commission & gallery show, this also being something important to me, working in assistant roles for artists, as well as doing more applicable assignments: prop making, performance clothing, producing websites, etc.

Wednesday, 26 February 2020

Swampy

And this wrinkly swamp creature bringing his webbed hands up through the water, sifting up, hands together, through the murkiness, with fingers spread to make a wide gauged sieve, dredging up an orange bottle cap, red biro lid, with saturation sliding toward full vibrance as they come through the water and up toward the camera.

Glitter

The word glitter (from Proto-Germanic origin *glit-, preceding something shining, bright, and Old English glitenian, to shine, to be distinguished) has remained intangible through literature since the 1600s, you could find it glistening across the surface of the eyes, lining the edges of waves. In the 1930s it was assigned it's physical product, developed in a New Jersey farm, on the east coast of the USA, where a machine was constructed which could cut scrap material down into very small pieces. This farm became Meadowbrook Inventions Inc, which still produces bulk glitter today, down to 50 microns, or 0.05mm. 

Microplastics are classed as any plastic fragments less than 5mm. Microbeads measure from 0.5mm down to 0.0005mm, and are often added to cosmetic products: toothpaste, exfoliants and household cleaning products. Also known as primary microplastics (secondary microplastics being deteriorations of larger plastic objects), microbeads have begun recieving a series of worldwide bans on their applications, which have been coming into effect since 2018. Nanoplastics are a further disintegration down, to a scale small enough to begin passing through biological barriers, from gut to blood, blood to brain, and are identified with a size less than 0.001mm. At this size plastic can interact with our body on biological terms; known to disrupt certain hormones, and to easily transport and deliver toxins. 

This puts glitter as an example of a microbead plastic that you can buy in bulk from most supermarkets and local shops. With a scale similar to sand, which is defined as particles between 2mm and 0.05mm, glitter and other plastic particles easily corrode, often in water and aided by UV exposure from the sun, tracing the same erosion that divides rocks into sand, into silt, into clay. Whilst glitter is only a small percentage of a wider range of microplastics (visible mainly in the sea, but also found in earth samples and airborne) it is also well on it's way to disintegrating into a nanoplastic . In it's original form it is not on the scale to enter the bloodstream, but it can easily pass through the digestive system, with current human fecal samples almost always containing traces of microplastics. For this reason glitter is commonly used by zoologists: mixed into animals food to then be able to colour co-ordinate their poo, for various health tests as well as providing hormonal data sets, one outcome of this being to determine how stressed the animals are.
The raw sheet material of glitter is aluminium metalised polytheylene terephthalate. Polytheylene is the most widely used plastic, in carrier bags, plastic bottles, thermoset toys; with more tightly knitted composites producing fibers strong enough to replace Kevlar in bullet proof vests, and a loosely knitted, low density version such as cling-film. Polytheylene terephthalate (PET plastic), because of its transparency in raw form and ability to retain liquids, is used to make water bottles, whilst a version with wider mesh can be seen in polyester clothing, and wider in the fabric used for screenprinting. These reels of PET material are almost chromed, or metalised, with a layer of aluminium powder applied, to give it a reflective, mirrored surface, and then cut.
made from petroleum ?

I would like to look into the ban on microbeads that was speculated in the UK over the last years, maybe only banned for festivals? Or a countrywide ban on it as a material ? 

When dozens of British music festivals pledged to ban single-use plastics by 2021, the proposed ban included plastic glitter

To look into the currently legalities of it, with an interest in when law and materials cross, thinking asbestos, and with the insulation that caused Grenfell, maybe not to specifically talk about these, but just in terms of how to approach this section. 

There is one specific case from Florida of glitter being used to prove a case of homocide within this car crash,, I'd like to look into, where airborn glitter found on a vehicle linked with the driver who was denying responsibility, and it's similarity with other forensic or materials for security, fingerprint dust, dye packs to mark stolen money, etc. 


BIBLIOGRAPHY
Glitter production

Polythene / PET

Microplastics + Nanoplastics

Microbeads/plastics, Glitter + Law

Sand/Silt/Clay

Nanoplastics + Health / toxins

Glitter use - Zoology + Criminology


Extras/ old:

Glitter should be banned over environmental impact, scientists warn
While many microplastics result from plastic debris breaking down into ever-smaller pieces, tiny particles called microbeads are manufactured specifically for addition to cosmetic and health products.
A ban on microbeads will come into force in the UK next year, after scientists and campaigners made the devastating impact clear. Glitter could be an overlooked component in the wider problem of marine plastic pollution, and they are used in a wide range of products.
Most glitter is made of aluminium and a plastic called PET. Dr Farrelly has investigated how PET can break down to release chemicals that disrupt hormones in the bodies of animals and humans. Such chemicals have been linked with the onset of cancers and neurological diseases.
“No one knows that glitter is made of plastic,” says Noemi Lamanna, co-founder of eco- friendly glitter distributor Eco Glitter Fun. “We were heartbroken when we found out.”


Glitter as forensic evidence in Florida car crash homocide
A highway in Florida had a center lane that was only supposed to be used for turning. A vehicle containing a mother and her daughter was stopped in this lane when a pickup truck driving in the center lane smashed into the stopped vehicle and both the mother and daughter were killed. When police arrived no one was in the pickup truck. However, an intoxicated woman was found hiding nearby in the brush. She denied being the driver, but she was wearing cosmetic glitter and at the instant of impact some of her glitter was transferred to the driver’s side airbag.

Palaeolithic examples of live broadcast



It has been vaguely suggested that palaeolithic humans might have used camera obscuras to hunt, making a small hole in the side of a tent, they would have been able to watch an upside down projection of the nearby wildlife, waiting silently until one came near enough, to then jump out and grab it. This would have doubled as entertainment for other members of the group, small audiences sat upside down in these tents, sharing seeds and nuts, whilst watching the widescreen projection of a wrestle with an antelope or chubby pig. The audience, riding on the thrill of this awkward chase, but over time, not fully satisfied, began to develop more complex stories for these small cinemas, more turbulent narrative curves began going into production with jurrasic park style dinosaur costume rigs and reanimated dead matter, like the fox in antichrist. 

Dream about eating battery


Dream About Eating Battery
Dream about eating and swallowing a battery, suggests that you are on the wrong path to spend your time and energy. You are motivated to do things that will bring negative results. You are overindulging in the sense of fake power and energy, these negative actions will ultimately destroy your own well being.

Dream About Broken Battery Leaking Acid
Seeing broken battery that is leaking fluid or acid, indicate serious health problems may be developing. You are likely to suffer health conditions that result in fatigue and lack of energy. Consider seeing a doctor and get your regular health check up.

To see of eating, swallowing or tasting a battery in your dream indicates that by abandoning your environment where you stay for a long time, you will try to make friendships with new people. If the taste of battery is bitter or you have a difficulty when you swallow it, you will be excluded from your new environment. Otherwise, you will adapt to your new environment easily.

Tuesday, 25 February 2020


Sunday, 2 February 2020

Winter 2019 / 2020 Statement


This last winter I have been living back in my childhood village, working for a family that installs solar panels, and other energy appliances, around Bedford. I have been using a makeshift studio that I put together in a barn, on a farm complex in the next town along. Trying to mimic these various devices that we have been installing, from scrap material and copying basic components, fluorescent pink antifreeze which transports heat within the solar thermal system, and falling into a youtube depth of various niche energy production (algae farms) or energy reduction options, wireless communication systems - signal flags or optical telegraphs which glinted encoded messages from watchtower to watchtower across distances. Over the last 4 or 5 years working as part of tangled groups on various projects, with Limbo, a space we opened in 2015 to practice working collaboratively and between different disciplines and the last two years working directly together with Victor Ruiz Colomer, the things I am trying to bring together for the Fringe Festival in MK have come from the most detached working environments I have experienced. Because they haven't developed around people, I've been trying to find new variables in the sculptures themselves, that push against this singularity, elements that could leak, sprout, bloom, get out of my control. I've been trying to work as quickly as possible, using moss instead of buying silicone filler. They go into an incubation stage, outside for the next months and I will refurbish them in June. 

Tuesday, 12 November 2019

Compost


They explained the progression from interest in similar things, to close friends, and as they felt more and more comfortable with each other to lovers. I'm not sure where from, but I feel this push against the want to find comfort within love, that when u get to the space of comfort it was tied to some sort stagnation, that things were needed to be stirred within a relationship. But for comfort to be the starting point to a relation, the foundation of something, pushing against this weird need for risk, that these risks are necessary to create high emotions, or value, or some sparks.

Comprehension not a sudden spark, but by a process of nibbling, then it looks like the curve of a graph, and that means we are already some distance up the slope.

Arythmy dance classes to starwars ontop of simpsons ontop of sum41.

During the Argentinian dictatorship (1976 - 1983) venn diagrams were banned from being taught at schools.

Hydraulic solar leaves opening.

He can dance with words the same way they can dance with feet. 

Hi Harry,


Thanks for meeting me on Tuesday, was great to see the space, have been thinking about it a lot the last days, sorry for being slow on the email, was thinking to try send a lot of stuff, but maybe better to keep things simple atm.
Here is my website with projects from the last 3 years, if you click the links it goes through to more photos / info about each one..  

So the things I would quite like to keep working on, if possible to use the space at the barn, is some of the solar stuff..

So these are larger panels, from old projects, around 100 watts, and using these coloured panels we have been getting hold of from Taiwan,, with quite makeshift rain jackets for when we were using them outside. And then the last two images are the most recent attempts from last summer to make these movement sculptures which use solar, so they have small motors in there, this one uses the same principle as the mechanism which is used on the solar probe that was launched last year / maybe the year before .. using the shade / shadow so if one panel sees light it fires up the motor one way, and if the other sees light it fires up the opposite, so this little device is almost 'looking' for / looking towards the sun.. all these attempts are quite sketchy /dysfunctional , so they kinda have their own personalities spinning about. 

And then earlier this year I learnt how to sew / put clothes together, we went to Moscow last summer to be part of this exhibition,, and visited the Cosmonaut museum,, which had the most insane clothing in there, the sort of clothing you would wear under space suit, so designed with pipes running through to cool you down, a lot were based on high altitude fighter pilot gear, and because everything was one off / made to fit , they are super super complex but you can tell that everything is put together by hand, I read that they would buy uniform and clothing from other countries armies, dismantle them, copy the patterns and put their version back together, so everything almost has this hand-stitched feel,, this sort of thing..

I'd quite like to keep working on the sewing machine, not necessarily to make clothes but just to make these patchworks with a similar level of detail with straps zips toggles etc,, to then use in a more sculptural way, to grow plants from etc, keep daydream about working with waterproof fabrics and then having them in tanks of water to grow underwater plants / seaweeds from.

Maybe thats enough for now, getting a bit carried away sending stuff. Have been thinking about when u asked 'if i was green' the other day on the phone, around and around haha, I'm not really interested in solar energy or things like this in a 'save the world' way,, more out of curiousity , like I am quite into machinery and production and the mess inbetween. I used to do a lot with motorised parts, with a lot of wiring plugged into the mains, and everything moving on quite a strict tempo / rhythm, but with using solar elements these motorised /moving parts start to choose their own rhythms , they wake up etc.

Okay going to talk about the space, sorry kind of end up going on a roll if i start talking about things I want to be making..

I'm really excited about the space, I'd like to get involved. Hopefully it comes across from sending a bit of the work I've been making, but it is quite flexible, I'm quite excited to be working partly outside, in the area you showed me. I have worked doing building / labouring jobs for a lot of galleries and theatres over the year (have attached my CV which has more info on that side of stuff), as well as the roofing work I've been doing with the Solar company recently, and feel confident making a start on some of the sections we discussed, patching up the triangle with glass/perspex , just to stop the rain, maybe trying to partition off a small area underneath where the steel girders would come, just to make a small indoor area, but to do everything very step by step, for us to be both on the same page and happy with any fix-ups I am thinking of, and then to be involved in any of the work when it comes in terms of the showers, the unit where Ricky would be, etc. 

I don't know if this is rushing too much, but I now have a gap in work until Tues 19th, and would even be keen to get going as soon as possible, haven't had a space to work for the last 6 weeks now and starting to get a bit stir crazy ! Happy to put down any deposit money, or rent money, etc, let me know what you were thinking and what works for you. 

Okay, no rush on a reply atm, I will give you a call at the end of the weekend, see how it is sounding. 

Thanks again , speak soon, have a good weekend!

Friday, 23 August 2019

NUEVOS COMPASES (Sept 2020)

The first stage of a decomposed workshop, acting as an initial spark. A series of solar instruments, as gimmicks or gizmos, disintegrating the idea of solar and bringing it closer and warmer, easier to weave into daily thought and activities. The car dashboard solar-surfer, like the static-electric illusionists of the industrial revolution, like the shadow puppeteers of prehistoric fire. These heliotropic devices using a similar technique as the Parker space probe (who’s four solar panels peek around the edges of it’s composite shield to manoeuvre back into the safety of the shade, and keeping the shuttle in constant shifting alignment) and operate as compasses / signposts / dancers for the sun. Electric motors are the pushers of linear time, and trampled on the plants role as official time-keeper during the industrial revolution, straightening out the cyclic understanding of time which came with the seasons and weather of agriculture. The solar motor initiates a clash of these two understandings of time, developing a new pacemaker. Ignoring the potential for energy conservation to be more involved in a direct relay and translation of energy. Freeing the motors from their regulated tempo (in correspondence with the maintained pulse of electricity within a municipal power grid) and allowing them to fluctuate into a more turbulent and arythmic dance.

Multi Directional City Vehicles for New Group Movements (May 2020)


Ona is concerned about the increasing popularity of individualised vehicles in the cities of planet earth: such as the combination of electric scooter and iPod. They are worried about the drop in excitement toward communal transport systems, like the metro or the buses, which are very popular in neighbouring planets, hosting food, dancing and small sports based parties as inhabitants travel to their destinations. They are inviting you to visit the Universal Mobility Congress to test some of the latest developments in multi-directional vehicles, a specific newly released model which is actually inspired by two products of planet earth: starfishes and office swivel chairs. We will explore palaboras and try to understand elements of physics upside-down to develop a series of new vehicle proposals for the city, to cater for multiple intentions happening all at one time and moving together in new ways. Ona has an upcoming meeting with the Barcelona city supervisor of mobility, and she needs our help to present these new vehicles in the form of an orbital race, expecting this to disintegrate into a more dysfunctional dance.

A Ona le preocupa la creciente popularidad de vehículos individuales en las ciudades del planeta Tierra y la caída en el uso del transporte público, muy popular en los planetas vecinos, donde organizan comidas, bailes y pequeñas fiestas deportivas durante los trayectos. Te invitamos al Congreso Universal de Movilidad para probar algunos de los últimos desarrollos en vehículos multidireccionales, un nuevo sistema inspirado en dos elementos de la Tierra: estrellas de mar y sillas giratorias de oficina. Exploraremos parábolas e intentaremos comprender elementos de la física al revés para desarrollar una serie de propuestas de nuevos vehículos urbanos, que Ona presentará supervisor de movilidad de la ciudad de Barcelona en una carrera circular que se convertirá en una danza.

//////////

Malaysian directional language

Horses / vehicles following directional of human body 

(Priest riding backwards on donkey? )

Office chairs / starfishes .. multi directional

AMEBOIDS



&&


Thursday, 23 May 2019

Message from ONA

Hello, I packed these words into a lunchbox of electricity and found the largest creature from my home, who is a galactic sport champion and universe renowned chef, to throw them as hard as they could towards your space island, which I've heard rumours is called Planet of Earth. We have heard that you have a party every single day of the year.. you wake up when the first beams of sun reach you, there is food in every colour, people move quickly on different types of wheeled animals made of plastic and metal, which you rescue from deep underground, there is music which travels huge distances from one side of the island to another, and you dance in a way we have never seen before, putting one foot in front of the other foot and moving forwards at different speeds and in different directions. In my home we only dance with our ears. My friends are on their way to this party, but they are worried they won't be able to join in. On my home we use many different types of arms and eyes and legs and ears and toes to be able to talk to everything around us at the same time, and know what is happening. They were embarrassed about these, so have not packed them in their suitcases, but I know they are going to need them. Can you help them make new ones when they arrive? They like to listen and talk to anything and everything, with trees, oxygen, pigeons, shadows, benches. Hope you can help! Thank you, ONA

Wednesday, 3 April 2019

Much (February 2019)


Throughout the run up to Much, we made multiple pushes with distinct intention and with specific direction. These forerunners, streamlined in concept, provided distinct pulls to all associate with collectively and move towards, whilst becoming more aware that the harvest of detritus that falls behind these was more adaptable to move forwards with, to glean these left overs that had more complexed questions coiled within them, and to look at them together. But still jumping onto the fireworks, just making sure these were ignited as multi-directionally as possible, enjoying occupying the new planes that were opened and stretched between these eccentric arcs. These planes are translucent and operate like filters, or sieves, letting through light in the same way the purple plankton used to do for the green plankton, which operated at a lower ocean depth. We want to make images of things, these photogenic bundles ricocheting through cables, light translated via coded sequences, surging up communication towers and flexing into their electromagnetic waves, volleyed between various dishes, glancing at each other from the fringes of the stratosphere, back down, through and blooming on multiple screens in a variety of hues. These things are celebratory paraphernalia. The words “parable” and “parabola” both (kind of) come from the same Greek root word parabolē, meaning to place things side by side, as a comparison. With para being 'beside, near, resembling' (like paraphernalia), and parable, like a parasite: something that lives within something else (it's host). The amalgamations we put together were hosting thoughts / images (or shadows) of themselves / movements. Towards a sort of sun worship, or the welcoming of sun into practice in order to fluctuate an understanding of time; which is often maintained by the regulated tempo of electricity. Thinking about a shadow being something cast or thrown by something else. The solar cookers (warmers) function with their parabola shape in the same way as satellite dishes and listening dishes do: a shape that amplifies or focusses things. But understanding the importance of maintaining multiple focal points at once. With the solar cookers for example: the opportunity of multiple focal points bringing the ability for there to be multiple hobs, and therefore more complex meals can be cooked. The objects exist as banners or signposts, as placeholders or directors which highlight areas of interest.

A parabola is a curved line that corresponds to a shifting point, where a circle responds to a fixed point. With a parable being a story that uses imagery in order to make a point that is not explicitly identified. When you throw something, the arc it makes is a parabola, it is a symmetrical curve, but it is not a semicircle. The live broadcast exercises we were testing through last summer had similar intentions, as group activities where the detritus / meetings / decompositions of individual practice could lean into one another. Tracing the unfolding questions in the following weeks, the actual formalisation of the broadcast becomes crystallised in real-time, then blurs out of the frame and out of the mind in the weeks after, smaller instances salvaged by whoever is interested in what. We have being trying to learn how to work in a way that has porous enough edges, or perforated edges, to allow others to jump in. The blunt fireworks to kickstart processes, riding exponentially turbulent waves of specificity into decomposition and back out and around again, being aware of different rhythms and the excitement spilling when these align in complex beats, whilst encompassing the times when eyes starting glancing in new directions and these differing paces move out of phase, and the friction summons an arrhythmic dance. To leave edges open, leave doors open, giving leeway, things partially untied, like the barbs of plants which catch onto you. A lot of the elements of the work are recycled into new roles afterwards, and this understanding brings a need to work with a porosity of form, as you know it will operate once again, in a way you don't yet know. The car dashboard solar-surfer is to solar energy, like the static-electric levitation illusionist is to electricity, and like the shadow puppeteer is to fire. These gimmicks initiate a disintegration of suspicion surrounding something new, via small gestures that deconstruct what might initially be intimidating or overlooked, and allowing it to enter the collective imaginary. We are currently working on a series of solar tracking scarecrows, which use a similar mechanical technique as the Parker space probe. These characters will dance heliotropically, tracing the sun's arc across the city, whilst scaring birds from newly planted seeds and warping shadows of themselves across the rooftop.

Saturday, 30 March 2019

Palermo (After!)


Our initial proposal for the project in Palermo stemmed from an anniversary parade that we had organised for Limbo in summer 2016. Limbo is a space that we started in 2015 in London, as a facility to practice collaborative and overlapping ways of working, whilst both studying at Slade, where the modes of working could lean towards being individualised. In full circle the activity at Limbo filtered back into our individual practices, in terms of starting to not be able to understand making work outside a tangle of collaborative activity, whilst igniting a continued interest in space making, and how these spaces have the ability catalyse and propel. Limbo is still rolling now, although we are not directly involved, and seems like it might eternally maintain itself as a space for students to unpack. The parade in 2016 was an opportunity to celebrate the group that that gathered around the space over that first year, and weaved from the unit on Old Kent Road into Burgess Park.

Although not having the opportunity to re-orchestrate these parades, it became an activity we referred back to a lot in future activities, as a modular structure that easily invited participation. In early thoughts for Palermo we were considering using this format, as a way to traverse the locations that Manifesta was situated at, to spend time in public spaces as a way of understanding place, and to have some sort of flexible spinal structure that as many groups from Palermo could use as collective support and move through the streets together. Limbo was on the ground floor and open to the street. As we went through the summer this year (2018) we began putting together live broadcast activities in Barcelona, as an opportunity to bring together theatre groups, artists, musicians in the city, with an understanding of loose scripts, and multiple bodged filming and broadcast techniques, using a mash of easily acquirable and plastic technology, these events providing an opportunity for wide groups to push in a similar direction, whilst boosting an off-spin of writing, props, devices, communication, meetings. 

We started to understand these tests with live broadcast working in tangent with the format of parade, beginning to look towards the communication towers that overlook Palermo from the Pellegrino mountain, and contacting the Bici Tuning crew, a group that build and ride custom soundsystem bicycles in the city. We had previously been involved in the early stages of a bicycle sound-system free-rental system in London, with a focus on the necessity for accessible amplification. As the Palermo project got closer, and something that we hadn't considered.. but it became clear that we had the opportunity to occupy a space for our time in the city. This space shifted a few times, and our ideas fluctuated alongside these movements, until we landed on Via Roma 206, an empty shop space on the main commercial street in the city. At this point our thinking doubled backward through the parade (as a celebration of space-making), but into the root potential of being able to open a space in Palermo. The project was always a porous and responsive activity, as much as we could research in the lead up, we understood that we would only understand what and how we wanted to push, when we arrived. We travelled by car from Barcelona, via Sardinia on the ferry, the car full of equipment that we were expecting to use throughout the month, giving the opportunity to reset internal tempos in anticipation of adopting the rhythms of a new city.

We arrived in Palermo in the final month of Manifesta, the city was chewing on the summers activity and influxes. Many spaces across the city had been opened up, and questions were starting to turn to their use after Manifesta left the city, whether their use could be sustained, how things could roll after. At Via Roma 206 we initiated a particular recycling + broadcast plant (rampicante) that tried to understand matter (acting as a decomposer), and how to process it altogether. It incorporated various activities in celebration of fully tangled conglomerate outputs, which occupied a multitude of different dispersal / communication techniques, including.. film making, film screenings, paper / poster making, filtration systems, live broadcasts, music events, maquettes to model forecasting and currents, loose scripts for theatre, solar radio systems.. taking ideas from waste management chains that process matter, to figure out different communication tools (and the loss that occurs in the widest sense of translation).

We had two workshops operating simultaneously at the space. Upstairs was a recycling plant focused on making posters. The posters were made from a pulp of blended paper, left-over from different organisations based in Palermo: cards, wraps and all kinds of printed information (that might inform about the current concurrences in town) were added to the mix, along with discards/detritus found around the streets and squares, small solar powered radio systems (opening FM wavelengths in fluctuation with sunlight) and germinating seeds. The compression of these into paper created inadvertent archives of activity both internal and external to the facility. Various parameters recreated air and underwater currents, and other alterations in flow and direction. Filtration systems operate in tangent with this pool, and various sieves were used to produce the paper. They were distributed to public spaces across the city and disseminated online, to announce the facility's activity and invite participation.

Downstairs was a cinema which hosted film screenings in the form of a perennial moving image playlist, in accumulation throughout our time there. A permanently open - open call - initially stemming from artists and filmmakers in Palermo, Barcelona, London, was announced via various communication methods, including the posters. The cinema celebrated it’s existence every Sunday (MOSTRA) at 20.00 with a presentations of particular films, in appreciation of the difference of things occupying space together.

notation


Dance notation systems can provide a useful model to think about paths in terms of continuous body movement, rhythms, pacing and space, but they do not incorporate the environment (other than stage plans) in their systems. Furthermore, other notions important to spatial scoring such as sounds, smells, textures, views, enclosure and subjective experiences are not recognised in these systems either. 

Valerie Sutton and the progression of Dance notation into sign-writing

Loose scripts ..

on the java tweaks !
scripts for mobile phone

The composers let go of the control they have over the details of the composition, revert to approximations - that indicate the general idea and atmosphere - and give the performers a meaningful role in the construction of the work. Composers who work with such notation, where the distinction between symbol and drawing are ambiguous.

The gradual breakdown / decomposition of drawing into pictoral writing systems into ideograms / logographic writing.

With time the sign representing sun might develop into a more symbolic and abstract form, like  for example, and start to be used with several additional meanings such as ‘heat’ and ‘daytime’. Then, such a type of symbol is no longer a pictogram, but it is a part of a system based on idea-writing called ideogram. The difference between pictograms and ideograms is that the former represent their referent in a conventional way and the latter are more abstract and arbitrary,

Sunflowers: those big faces, and the tilts of their heads – this one sympathetic, this one haughty, this one jaunty. Grown from small seeds, in a few short months they gain stature, hair, veiny green stalks and leaves. Moving to follow the sun, they toil through their short season to produce one big flower, the centre of which is all seeds, ready to disseminate the next generation.
Before radio, electronic communication was always one-to-one. When radio came along, the new ‘one-to-many’ model was described as a ‘broadcast’, which was originally an agricultural term, a way of sowing seeds that mimics nature’s mechanism: the sower takes a handful of seeds and casts them onto the ground with the sweep of an arm.
The phone was crucial for sharing information quickly. In the US in the 1950s and 1960s, when most Americans had telephones, the civil rights movement relied heavily on the telephone.

Before email, the phone tree was one of the quickest and most efficient ways to disseminate information.


Landline phones > mobile phones
'Within the span of two decades, Americans went from being a nation of talkers (on landline phones) to a nation of typists (first through word processing, email, and IM, and now through texting).'

Monday, 28 January 2019

funding ideas 2


jack parsons + fred moline writing a film treatment in LA of their childhood and early experiments in rocketry in the 1920s (whilst avoiding their recipes being leak towards military use) to try and gather money to develop further rocket experiments, which went on to be incorporated in NASA's programme

201A


In diving, a 201A is a backwards straight dive, where you wouldn't see the water right until you hit the surface. 



Monday, 21 January 2019

too many things


WhatsApp restricts message forwarding from 20 to 5, a narrower valve in attempt to reduce mass sharing of manipulative information and the water inside me has also been inside dinosaurs, and after / before it was locked between rocks in heavy water stress, the pressure causing seismic ripples to chase each other around the sphere of the earth and cause pylons to wave their banners between them in celebration of the electricity flowing through. Sand is quietly diluted with glitter, a pure micro-plastic material available off the shelf, whilst bans come into effect at Bestival and Waitrose, zoologists lace animals food with glitter in order to colour co-ordinate their poo for use as hormonal data sets, and Florida police trace the movement of air-bound glitter dust to determine the cause of a traffic collision. Glaciers act as deep time water clocks, the reservoirs of the earth flexing time like how the surge of electricity caused by the world cup final fluxes the timekeeping of the synchronous clocks seen on microwaves, their understanding of the size of a second fluctuating on the moderated hertz frequency of the electricity grid. The same water sipped by the earliest birds , while different insects fuck each other by accident in between their feathers, a comfier habitat than on the winged reptiles that preceded them. The same / similar birds who now use the giant concrete dams, the construction of which thickening the gaseous layer which insulates the atmosphere, as wind buffers. The unusual movement of wind across these giant structures providing complex air currents for the birds to ride on like an aerial skatepark. The concrete in the vast bridges that weave complex spaghetti junctions which allow an increasing offer of multidirectional movement in the most efficient computer modelled flows of traffic, but still the slight hesitation of seeing a rabbit bouncing along the jet green roadside causes phantom traffic jams 2 miles behind. And the willow trees  developed in synthetic wave pools and installed in grid plans around tsunami prone areas are now working overtime to calm the seas and inhale an increasing amount of CO2. 

Tuesday, 11 September 2018

space proposal 2



To formulate an unfolding educational programme / facility / space

a focus on the initial variables but in place, whether these exist as specific 'workshop' areas, with a particular crew of people involved in pushing the limits of what can happen within these areas:

Cinema screening, library, communal kitchen, live video station, sound recording and development, the website, composite materials workshop, garden, theatre rehearsal space, residence studios, 

whilst the space allows for these activities to occur simultaneously, with an awareness of their various tempos, whilst doing what we can (spatially, financial, keeping things open.. access, architecture, involvement) to give enough leeway for these areas to spill into one another, and for risk to occur 

everything on wheels in order for the space to fold itself into exponentially multiple variations 

with scheduled visiting artists, seminars, presentations, critical sessions and workshops threading through all activities in the space, and creating loopholes between these areas

To push against the use of events as markers of a space's programme, to undermine the linear progression of this, but working from an understanding of event-based time concepts, in that events happen when they happen, and they happen when a spark occurs between two areas (in encouragement of the potential of multi-disciplinary working).

to focus the space on the development and mid-point of projects and activities, with an always increasing and rotational system of members, with regular open calls to encourage participation from those outside our immediate spheres. Using the walls of the space to contain and perpetuate an active momentum, understanding the space as catalyst, something you care for. For members to spin in and out of the orbit of, and redistribute this momentum elsewhere. To develop links with other international spaces to push international movement and exchange.

for this system to sustain itself, where it becomes unclear who pushed it into motion, and for it to develop a collective-motion, with collective-intention, made up of multiple attitudes and intentions leaning on one another. Beginning to self-organise its own patterns or routines of activity, also actively and regularly un-knots it's own program and reformulates it (decomposer) through regular group meetings.

to Provide a space that doesn't stem from central vertical spine but instead solidity occurs around the edge, the strength comes from the linking perimeter of events, occurrences,

Thursday, 6 September 2018

Absent Minded Experimentation


Growing up in a small village near Bedford, we would often utilise and occupy these unused spaces as kids, in between a network of abandoned properties, including council offices, train tunnels and brick factories, we had developed a portfolio of locations which we quickly repurposed into spaces for absent minded experimentation. We could gain a vague understanding of how a building, or furniture, was put together via a process of throwing various things at other things. 

Monday, 3 September 2018

Pace Maker


and when he got the pacemaker he stopped making them, would tell us it was messing with his rhythm haha.

heart as electrical beat keeper
THE WAVE , transferring information, between cells di-polerisation (mexican wave)
keeping it's time due to the electrical information taking a certain amount of time to travel ? 

- skipped a beat podcast

cardiac rhythm interpretation


(but then with pace maker?)

Solar Motors


In Madagascan linguistics, words used to describe the past include taloha (before) and teo aloha (in front), and the future with aoriana (after/behind) and afara (last). In reverse of the understanding of future being ahead of you, and the past behind, within the Malagasy language, the future is behind you, because it is what you can't see and don't know. 


Electric motors are the pushers of linear time, and trampled on the plants role as official time keeper during the industrial revolution, straightening out the cyclic understanding which came with the seasons and weather of agriculture. In mechanised plant nurseries in the Netherlands, plants are manoeuvred, watered, repotted and sorted by automated robotic arms, within conveyor belt systems, these motorised systems enforcing their regulated precision on top of the plants more fluctuated understandings. 



growing bacterial communities in the pores of 6 x 4 photographs


Before radio, electronic communication was always one-to-one. When radio came along, the new ‘one-to-many’ model was described as a ‘broadcast’, which was originally an agricultural term, a way of sowing seeds that mimics nature’s mechanism: the sower takes a handful of seeds and casts them onto the ground with the sweep of an arm.

Wednesday, 15 August 2018

Levanzo


In the coastal region of Levanxo, life is lived particularly. The couple of settlements along the shore have happened in a way where life never really became identifiable as such, where it is difficult to trace what came first, or to identify the causes through the remaining clues of any form of fossilized information.

Due to a huge and historic logistical misunderstanding, all the power for the area is supplied from one tidal energy plant off the coast. People know about this facility and feel for it but are happy to have not been.

The towns are only fully electrified when the tide is moving at its most powerful, which occurs twice a day, this pattern breaks down everyday, as tide times vary depending on moon times, differences in yearly periodical heat variations, pressure, spring times (and during spring tides exponentially too) , and it is still not fully understood what is happening when, but things work.

Tides coming in and out of the harbours in the coastal villages help produce enough energy to run all of the bars, clubs, charge appliances, vehicles, etc for however many hours - as this varies with the coming in of tourists/visitors/friends of those who live in there.

During the day there is enough latent energy in the system for tasks of minor electrical consumption, charging phones, but for equipment of high energy consumption, there are two allocated windows per day, when the tide is in full flow, and these last roughly about three hours each. It is in these continually propelling-in-calendar daily events where people take advantage to carry out the most intense activities like listening to music really loud, gathering in large numbers to watch films, using washing machines, activating rotisserie apparatuses to cook, pumping water back up to the water tanks that feed the fountains, celebrating and illuminating large infrastructures if needed - like the main parks or squares if it is night time and there is a need to carry out the various unimaginable activities.

Whenever there is a change of tide, all the peoples make their way to wherever they are working - as they constantly work on different projects - and when they are satisfied with the time’s work, they go back to have food at the local restaurants/bars/home, to later make use of the last energy left that the tides produced, normally in shared leisure. Then they might go back to sleep or continue with whatever it is that they want to do if there is enough daylight to do so.

These activities shift in phases, as the tide moves across the schedule in different steps throughout time . Nothing is really settled in Levanxo, there are roots but they get wet very often - they are more accustomed to be water dwelling. Peoples in Levanxo are happy, but they describe it differently. We have never been in Levanxo, but our friends Laura and Sofia told us about this.