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Artists as teachers. How does this work? Behind a desk giving facts. The implicit hierarchy is stifling. Are “facts” something like- information readymades ? This makes the process much more palatable.

 
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In As Much As It Is

Carmen :: In Morelia, teaching an enormous group enthusiastic diverse students. While preparing discussion notes I came across a really interesting phrase of Michel Chion, the carnal presence of film. This phrase leapt out at me from the page. What a perfect way to say it- that irresistible intensity of eye contact with an image- filmic or otherwise. I don’t have my own words for it but I know it as primal and real. We all know it. Chion reserves this electricity for film but it lives in the visual arts as well. I remember it well from my first experience with Gary Hill’s In as much as it is already taking place (pictured above) I am sure there are many more others.

 
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The inexhaustible Christopher Robbins is opening a new branch of the WPA 2010 in Jamaica Queens. The opening reception is on Thursday, July 1, 5-9PM at Chashama Jamaica Studios 90-26 161st Street, Jamaica, Queens. I hope you can join him to kick off this great project. I’d love to be there myself.

 
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Carmen:: In Morelia, Michoacan, Mexico. It’s lovely, cool and sunny. I spent yesterday meeting with the directors of CMMAS, el Centro Mexicano para la Música y Artes Sonoras. We met to discuss the final details for our first meeting with residency participants on Monday.

The smell of fresh bread is wafting in through the balcony window and it’s all I can do keep from dashing outside to play with the butterflies. But the wealth and variety of Latin American electroacoustic music practice is inspiring that I want to be part of it and so back to work me.

 
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PlayMeI’mYours

Carmen:: A few days ago I was thinking about relational aesthetics and sound works and then today I heard about the project
Play Me, I’m Yours. What a nice idea. I would love to be walking around town and then just happen to see a stranger playing a piano on the street. Simple, direct and altogether wonderful.

 
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Carmen :: Sound art, HD, composition, electroacoustic music, Max/MSP, Audio vision, Visual Music, FCP, mapping, interactivity…

All this really makes me wish I could crochet or knit, do anything exciting with yarn. Why yarn? Because yarn is AWESOME.

I like the graffiti work of Knitta Please

And this piece by Theresa Honeywell all but sent me straight away to Michael’s.

Knit Machine Gun

 
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Doug Aitken

Carmen :: I fell down a rabbit hole. I was looking for interesting work by Mexican artists living near Morelia and as I stumbled around on line I found out about Mexico: Expected /Unexpected. The traveling exhibition included work by Mexican artists as well an international mix of makers. The goal of the exhibition was to explore a possible definition of Mexican contemporary art through dialogue with works from the international scene. Looking at the collection, one gets the sense of just how unstable such categories are.

But that heady art theory might be best saved for a chat over cocktails-lots of cocktails.

 
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Art floats.
Or at least that is the impression I got as I read about the
Polaroid bankruptcy sale . The Sotheby’s auction of
more than 1000 photographs from the Polaroid Collection founded by Edwin H. Land in the 1950s will go ahead tomorrow to raise funds to pay creditors of the defunct company.

I imagine a wide and turbulent sea. Single shoes, ties and employee badges drift amid desks and computers bobbing helplessly in the surf. These are the remains of Polaroid but not everything.

The Ansel Adams landscapes, Andy Warhol’s sneeze, David Levinthal’s Desire, Robert Rauschenberg’s Japanese Sky and hundreds of other images just seem to hover above the wave.

 
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Vestigial Sum

Carmen :: as we approach the beginning of our residency in Mexico, I was working on some of the workshop materials. One piece of the framework software Kevin and I are developing is on manipulating video with extrusions. Extrusions are strange things, but they should not be so. After all it is merely using the information of one image (or video) to bend another, such that the brighter part of an image, an outline for instance, is extruded through a geometrical object like the image above (in this case a plane). The extrusion geometry seems to act like an averaging machine in so far as brightness abstracted reveals something about the image you cannot see on its own.

The composite image begins to operate like a vestigial sum.

 
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Riyad Mall

Carmen :: in between project initiations and swimming in ideas about everything all the time.

A dear friend of mine, glass artist Anjali Srinivasan , is living in Riyadh at the moment. We were talking (emailing actually) about how Lacan theorized that an infant is not aware fully aware of itself until it sees its own reflection. Seeing its own self in a mirror, in a pool of water, in another’s eyes gives it a sense of self and thereafter its ego.

She told me that she has noticed that people on the street seem to have a general disinterest in the site of each other, that the feeling of an external gaze is somehow missing. Is it that the Abaya is an erasing device, erasing the site of the self. And if the site of the self is erased then is the sense of self also erased or in a way eroded?