Category Archives: ritual

‘Volcadas con Silla’ by Courtney Brown

Courtney Brown performs 'Volcadas con Silla' at provocative.objects

live long and prosper

Leonard Nimoy

our data

maggots

our data lives like insects inside our machines

you can hear the little scratchy sounds of them skittering about inside when you’re looking for a file or for some new meaning

we collect them — we store them — we trust they’ll serve us in some way

but in the end its all simply meaningless, just an unfortunate silly game

 

a little game

info_art

my art can sometimes feel a little ‘all over the place’

i don’t like to limit myself too, too much when it comes to my vehicles of expressive delivery — that combined with my natural tendency toward a scattered but exciting sense of ADHD plus my rather lengthy and continually-expanding collection of influences and inspirations makes for a rather eclectic body of work that i sometimes try to organize into threads or streams of my work

in my design thesis from Dynamic Media Institute, ‘confounded: future fetish design performance for human advocacy,’ i purposely chose the term ‘streams‘ for a few reasons:

  1. i feel like my subconscious is a far more present and powerful force in my creatively expressive, personal work;
  2. i enjoy following my subconscious — my streams of subconscious — to archeologically mine for the deeper, personally-symbolic inner significance that i’ve accumulated like a patina over the course of my life;
  3. i know that i naturally tend to bury certain emotions, memories and stories in the strange style that a chipmunk saves away little morsels for the long winter ahead — these might be feelings that are far too shocking and powerful for me to handle in any conscious manner in the current moments i am living in, and i am almost certain, for the most part, that a significant amount of people partake in this similar activity as a mere means of surviving the ‘day to day‘ dysfunction and chaos we all encounter along our life’s journeys;
  4. i also tend to hide away from time to time, sometimes for large spans of time, greatly depending upon my mood and certain life events — i can nicely attribute this behavior, to sort of tuck myself away inside my shell, to being born under the sign of Cancer — the symbol for Cancer, of course, is the crab — and after spending many an afternoon tide pooling with my wife and son, flipping rocks along the shallow shoreline out at Lynch Park in Beverly among other beautiful Atlantic coastline seaside retreats, i’ve developed an observational understanding of not only the ‘tough, outer exterior’ of the crab and the notion of ‘crabbiness’ that might be somewhat symbolically mapped to the drastic shift in moodswings i experience on a fairly regular cycle, but i also now better ‘get‘ how these little pinchy critters live — tucking themselves away, a bit under the sand or between the rocks as the tide ebbs and flows — its an interesting lifestyle to study and reflect upon, especially knowing that there are definitely some similarities between my own behavior and that of these amazing little moody crustacea;
  5. i guess i’ve veered away from exploring why the term ‘streams‘ so nicely captures the nature of my work and certain categories of recurring episodes in my work — this last enumerated bullet point, to get back to the concept of these streams of subconscia, pertains to the rather interesting evolution within certain streams of my work — as i tend to, at times, act more like a chess player than an artist, as i move and follow both the journey of certain objects and installations from literally geopolitical ‘place to place’ as well as the state of its existence into the next, and sometimes even beyond itself out into the metaphorical afterlife of the piece or its sub-componenture

today’s update on the information kiosk i purchased from Border’s Bookstores prior to the closing of the bookseller chain brings us just a few yards away from where it previously resided over the last 6 to 9 months or so — i don’t think this will be its final destination, by any means, however, i can see an interesting new stage in the piece’s evolution coming together in my mind’s eye

i original purchased the kiosk to build out a prototype for my Laugh Observation Library back at DMI @ MassArt — the LOL included a bookcase collection of 100 bottles containing a variety laughter samples per bottle along with this oddly orange information booth housing a laughScan Station to actually activate each sample for further faux-scientific research into humor and the human phenomena behind laughter

the original and only installation of the Laugh Observation Library appeared in The Pooka Lounge in Bakalar Gallery at MassArt as part of forensicEvidence — the name of my final showcase of work in the 2011 MassArt Thesis Show from my DMI @ MassArt experience

in retrospect the statement that my micro-installment made perfectly fit the bill regarding my discoveries around both MassArt and gallery exhibition in general — and this particular piece, although not exactly aesthetically matching the clinically sterile environment of a traditional scientific laboratory setting, especially that of a forensic investigation crime lab, really seemed to appropriately comment on my personal feelings regarding what Brian O’Doherty describes as the ‘white cube‘ controlled context of the gallery space associated with High Art

in fact, this installation and my personal aesthetic not only provided a silent and polite, subtle sociological commentary on both Art and Science as rather haughty professions, but the rather organic, make-shift style of my work also appropriately mocked the institutionalized aspects of high formality associated with not only Art and Science, but even with Design itself for encouraging a somewhat exclusive attitude within its highest of the high socio-professional, pseudo-political circles

the pieces i presented in forensicEvidence were the dead remains from my work at MassArt — the physical evidence of my work, but also of the pretend criminal activity i either partook in or witnessed while researching and working on my art at MassArt — now, of course, art-making is not exactly a criminal activity, although sometimes it can feel like such an endeavor when living and working outside of the inner protected sanctum of academia and its related artedness, but in some ways i felt like i definitely witnessed what i came to call ‘Crimes Against Creativity‘ — i won’t elaborate too, too much here on these crimes i witnessed, but i definitely felt a bit disappointed in some of the people and vibes i encountered while working toward my graduate degree at MassArt and unfortunately these were events, policies and behaviors that i will not soon forget and nor would i ever expect an institution of higher learning to simply grin and bear without pursuing some follow-up activity to properly set the record straight and rectify unacceptable, malicious and ignorant behavior

… anyhow …

following forensicEvidence — the kiosk remained in the back of my truck, nicely sheltered from the elements, but definitely getting in the way of any sane semblance of life

a month or so after i took the information booth out of my truck and left it at the head of my driveway — although a bit silly-looking in its now more ‘natural’ surroundings in this highly wooded area of Boxford, i actually loved seeing this ugly, orange desk-like fixture from a typically highly-corporate retail environment now planted in the midst of trees and lush, green ferns and other fertile elements of the great outdoors — and i was extremely happy not to have followed my original bad instinct to just leave the kiosk in a nearby cemetery { after, of course, taking some choice photodocumentation of this potentially-strange, satiric gravestone tribute to The Information Age — which would’ve certainly been bound to be an entirely illegal but hilarious act of vandalism or refuse disposal in the eyes of the court, i’m sure }

but now, many months later, after surviving an Autumn, Winter and Springtime out in the driveway, i decided to drag the information kiosk up the steps into our backyard and set it out just at the edge of our deck

here i hope to festively decorate the kiosk with some simple crushed stone around its base — maybe arranging some beautiful potted plants on the tabletop and around its stable and heavy periphery — perhaps this Summer and into the Fall, this will be our funerary preparations for the kiosk before finally allowing myself to emotionally let go of a piece that never quite got beyond the prototypic stage — this might be a truly wonderful way to commemorate the short lifespan of this mysterious object that i’ve carried around with me from place to place, an object that has come to symbolize the weight of the personal information we carry around with us in life

its time for me to prepare

these are the last few months i will live with this bizarre physical manifestation of my memories, feelings and unnecessarily burdensome set of heavy experiences i still find myself hanging onto

i will be certain to document these last arrangements i make with the kiosk — i hope to focus on growing something positive and beautiful on, around and through the information booth — to evolve some of the confounded emotions and energies that remain into / toward a blossoming garden of new vegetal information for further maturation and growth and positive seed for the future

oscillate wirelessly

Man Wrapped in Wires

Sara June @ Woodstock4

i absolutely LOVE this clip of Sara June’s collaborative, improvised public intervention performance with Endguys out in Boston Common for Woodstock4

Sara June Woodstock4 from Uncle Shoe on Vimeo.

Movement artist Sara June in performance at Woodstock4, presented by Whitehaus Family Record on the Boston Common August 18-19, 2012. Improvised music by Endguys (Steve Norton, bass clarinet / Matt Samolis, flute). Video by Douglas Urbank.

space, the final frontier

office-cubicles-mdnits the big rage now, right? these open office floor plans

i first heard of the open office when i worked back at Monster — at the time the management talked about their new plans for an open office in these starry-eyed, future perfect ways, describing the Europeanness of this kind of office set up as a way to promote better team collaboration and a new, more innovative spirit for the group and the company

Maria Konnikova’s recent article-post ‘The Open-Office Trap‘ in The New Yorker dives into the symbolic intentions of an open office and then brings some critical research to the table to talk about the real trends and workplace effects affiliated with the open office layout

i’m not going to go into my thoughts on open offices here — i could probably rant, ya know? — just check out The New Yorker article for more of the data that’s been collected along with the critical analysis around productivity, distraction, health, privacy, happiness and so on … its all rather interesting and not all that surprising to me considering my role as a living human guinea pig for the last decade or so — at this point i kind of know what works best for me and my working style do to exposure to so many different work environment setups, which is super helpful for me as i assess what kinds of personal workspace tactics i need to take to keep myself happy, productive, healthy and somewhat sane in the modern workplace

what i’d like to talk about is what might really be an ideal work setup

i want to do a little experiment here on the webz with you, okay?

let’s take a little journey together where i walk you through what i can see as being THE optimal work space set up to truly leverage what actual the actual people doing the work might need to be creative, productive and collaborative throughout the day while simultaneously providing for the changing time-based needs of the organization and its individual employees that contribute to the culture and success of the company

so — here’s what i see and feel would be the most amazing architectural set up that would promote happy human success for everyone involved in making a business phenomenally successful

if we close our eyes and imagine for a bit together { go ahead, close your eyes …

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

okay … and NOW you can open your eyes!

 

see?

… now wouldn’t that be SO much better?

if you’d like to learn more about these work space design ideas and more that pertains to happy daily human collaboration for a professional business setting, drop me a line, aight? let’s talk about it more

you won’t be disappointed

and, ultimately, the investment your company puts into the set up for collaborative and emotional success for the people that do the work will be just one more tool to leverage when fixing the future toward a better tomorrowland

thank you

Synthesize, Improvise and Otherwise — Saturday, June 8

on Saturday, June 8th — Lee Todd Lacks, Tom Swafford and i will appear at Matt Samolis‘ ‘Synthesize, Improvise and Otherwise,‘ a new and interdisciplinary performance works events out at Nave Gallery in Somerville

Check out more info up on The Book, aight?

we’ll perform a new composition of Lee Todd’s written in A flat minor with relative wholetone flourishes and micropolyrhythmic, purposely dissonant percussive undertone accompaniment with a slightly woody taste wildly reminiscent of 1984 or so aptly entitled ‘Ghost Mall’ — you won’t want to miss it — i’m serious — well, okay, i really have no idea who you are right now, right? the technology i used to put this blogpost together can’t really dynamically detect who might be reading this post in the moment and then, based upon your innermost desires and personal likes or dislikes in music then assess whether you might or might not want to miss it, this ‘Synthesize, Improvise and Otherwise’ that Matt Samolis is putting on out at that wickid cool Nave Gallery in the general Somerville districts of Massachusetts and all, but, hey, i have the write to pretend and play and let’s pretend for just a second that WordPress allowed for that post-humanic, überCreepy and simulated predictive functionality, okay?

woah

yeah

that’d be, like, kind of simultaneously amazing, this kind of stuff we dream up and invite, but also a little bit annoying and probably a little bit broken

like

it might not get it EXACTLY right, right?

but we’d kind of ignore the fact that it’d be a little ‘off,’ right? like we normally do — and we’d probably think, like, woah — oh my gawd, that’s pretty fucking awesome — who the hell dreamt this cool, new innovative trick up? how’d they implement that? was there some sort of direct emotional sensor that somehow reached out via webcam into my retina to pull out my wants, needs and personal tastes in music and performance art?

probably not

i bet it’d just be kind of random, but we’d believe there’d be this wonderfully creative and epically smart algorithm of pure genius behind it all — that somehow data answers every question we have and that any tiny miraculous event can be somehow utterly dewonderfied through scientific conjecture and fully quantifiable proof of anything seemingly magical, real or exciting

hey

i’d go out to this ‘Synthesize, Improvise and Otherwise’ — ‘sGonna be off da hook ‘n shit

i can tell it is

probably the best way you can spend your Saturday night { unless, of course, you’re going out to that competing Mobius event happening on the verySame night — jeez! }

..:: teaching IxD ::..

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this Spring semester at Massachusetts College of Art and Design — which is, like, almost over, sadly enough — i got the distinct pleasure of taking the materials, sequencing and my approach to teaching Interaction Design { by night for MassArt’s Continuing Education Department } and filtering the entire course down into an independent study with Aliyah Domash

i didn’t realize it until we met up to work on the fine details of how Interaction Design might work at this independent study scale — but, that whole ‘small world’ kind of aspect of the design community in Boston was working its crazy magic from the onset, and strangely enough, i already met Aliyah and got to see her work from a semester or 2 back by sitting as a guest critic in one of the final presentations of Alison Kotin’s Foundations of Graphic Design course — anyhow, flashback to that class and i got to see a lot of hand-drawn, amazing depictions of an artichoke, all in black and white, cropped and composed and mounted very professionally and pinned to the wall — it was a fantastic and dynamic final critique that i’m sure involved a smörgåsbord of hummus and cookies and water and other potluck snackage as a part of this wonderful celebratory discussion of all the fine work and progress each student made over the course of the semester

so, as you can probably tell, i have a certain obsession with foodly comestibles AND a little bit of an issue with portion control, right? ;]

but, back to our regularly scheduled topic — meeting Aliyah in Alison’s design class

anyhow, that night and these sorts of conversations with students and faculty and different nuance of design potentialities always makes me happy and excited about the kind of design community we have at MassArt and in the Greater Boston Area in general — and what? with AIGA Boston, BostonCHI, Boston Cyberarts, Dorkbots, IxDA, Pecha Kucha Night Boston, Refresh Boston, Upgrade Boston, UXPA and the myriad university-driven lectures, hackathons and networking opportunities steeped in designery, you almost can find it difficult to keep up with just the community, forget about the most current trends, buzz and general discourse that accompanies the fine world of design in the general locality

who would’ve known that a year out i’d be working to teach and mentor Aliyah at MassArt in this wonderful independent study setup, right? small world, crazy small, in fact — and then, its just utterly phenomenal to see how quickly a student like Aliyah comes in on day one, starts up with the first 3 more analytic exercises in experience design deconstruction and all — and then through reading, dissection, personal and professional reflection and our near-weekly conversational sessions at MassArt and the project work that puts the focus on active exploration of interaction and user-centered design as a theory and a practice and an empathic journey to guiding this bizarre, almost otherwoldly force we call Design in a way that keeps real, live people at the center of our approach and goals as design professionals — well, its just amazing to see Aliyah’s progress over the semester and to see the full spectral journey of her final project work for final critique and completion of the course

its been a really wonderful semester — really interesting to see how i’ve had to flex and bend the materials and approach, only slightly in all actuality, to keep the design of the course itself ultimately very interactive, human and fun

i’m really looking forward to the final critique, although i know we’ll miss meeting up on a semi-regular basis with the good excuse of putting some credits on the roster while hopefully also digging into what design can really mean for all of us as both professionals and people exploring the world through the filter of human-centered experience design

 

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share something beautiful with me please ♥

oceanConch

i save little bits of writing like this in case of any future emergency — i hope this helps { i hope it is beautiful }

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