working model for the European Nomadic Museum (egg museum)
link to musee imaginaire reference
click on image to enlarge, enlarges twice
January 24, 2005
Nomadic Museum 1
working model for the European Nomadic Museum (egg museum)
link to musee imaginaire reference
click on image to enlarge, enlarges twice
January 23, 2005
Nomad Museums
working drawing for possible nomad museums and galleries click on image to enlarge, will enlarge twice.
January 22, 2005
Nomadic Hearts
Bayanihan by Joselito E Barcelona 1993
Bayanihan is an old tradition in the Philippines wherein neighbors of a relocating family would help the family move by gathering under their house and carrying it to its new location.Although bayanihan practiced in this form has become rare in today’s modern times, the word bayanihan itself has come to mean any manifestation of the powerful spirit of communal unity that can make seemingly impossible feats possible through the cooperation of many people working towards a common goal.
more on Bayanihan
January 21, 2005
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January 20, 2005
hobby artists
THE TESTED AND TRUE METHODS OF HAMILTON'S HOBBY ARTISTS
Warning; if you have a problem with your reading comprehension or sense of humor do not read this!
If an artist is defined by their full time commitment to their work then it becomes evident who the hobbyists are.
A Guide to be a successful hobby artist in Hamilton
1. Get a partner to pay your way, live off their money then you will have the free time you need to create.
2. Get health benefits from the government. A certificate from your doctor saying you can’t work, will give you an income while you struggle away at your art.
3 (the biggest group of hobbyists) Get a full time job!
I have heard this is the way in Hamilton. You can work full time spend money on your hobby art and show in galleries.
4. (The most dangerous) get a job in arts administration. Where you can define your own hobby approach as the status quo. And help other hobbyists like your self.
5. Own your own gallery; you get immediate recognition from the community of hobbyists that are up your ass trying to get a show.
6. Wait till you retire, have money in the bank and a pension and you will be free to create whatever you want.
7. Use more than one of the above methods and you could be quite a wealthy home owning so called artist.
I have watched as these hobby artists pass the ball between themselves in our community for years. And I have seen many marginalized real full time artists being driven out of the city because of this. I have seen an art community fraught with fraud and chicanery.
In our town the artist is as marginalize as they were in the courts of the renaissance. And the marginalized artist is too busy surviving and making art and in no way can compete with these privileged hobbyists. Unfortunately the tension felt by real artists in this kind of society does not exist in the work of hobbyists. They are comfortable people who want comfort first. So don't expect anything, new, earthshaking, or intellectually riveting from them.
It is your loss Hamilton. Maybe you should inquire of your curators why they prefer the hobbyists that chase them down as apposed to going into the community to find the marginalized full time artists that have given a real commitment to their town. And when you do go to a gallery, note if the artist is a hobbyist or not. I’m sure you will find a difference in the works ability to go beyond the decorative and didactic. I haven’t found this to be the case in other major centres that I frequent. Nope, in Hamilton it is just more of the blight that keeps our city down. Ooops don’t forget some of these curators are the hobbyists that you should watch out for.
What do hobby artists do to a community? They rob it of any sense of professionalism.
This in turn erodes the community’s confidence in the commitment of the work they are looking at. And also reduces all serious artists to the lowest common denominator. What ever you do don’t become a full time artist in Hamilton, you will be ignored. Just ask the other full time artists, who ever they are.
Warning; if you have a problem with your reading comprehension or sense of humor do not read this!
If an artist is defined by their full time commitment to their work then it becomes evident who the hobbyists are.
A Guide to be a successful hobby artist in Hamilton
1. Get a partner to pay your way, live off their money then you will have the free time you need to create.
2. Get health benefits from the government. A certificate from your doctor saying you can’t work, will give you an income while you struggle away at your art.
3 (the biggest group of hobbyists) Get a full time job!
I have heard this is the way in Hamilton. You can work full time spend money on your hobby art and show in galleries.
4. (The most dangerous) get a job in arts administration. Where you can define your own hobby approach as the status quo. And help other hobbyists like your self.
5. Own your own gallery; you get immediate recognition from the community of hobbyists that are up your ass trying to get a show.
6. Wait till you retire, have money in the bank and a pension and you will be free to create whatever you want.
7. Use more than one of the above methods and you could be quite a wealthy home owning so called artist.
I have watched as these hobby artists pass the ball between themselves in our community for years. And I have seen many marginalized real full time artists being driven out of the city because of this. I have seen an art community fraught with fraud and chicanery.
In our town the artist is as marginalize as they were in the courts of the renaissance. And the marginalized artist is too busy surviving and making art and in no way can compete with these privileged hobbyists. Unfortunately the tension felt by real artists in this kind of society does not exist in the work of hobbyists. They are comfortable people who want comfort first. So don't expect anything, new, earthshaking, or intellectually riveting from them.
It is your loss Hamilton. Maybe you should inquire of your curators why they prefer the hobbyists that chase them down as apposed to going into the community to find the marginalized full time artists that have given a real commitment to their town. And when you do go to a gallery, note if the artist is a hobbyist or not. I’m sure you will find a difference in the works ability to go beyond the decorative and didactic. I haven’t found this to be the case in other major centres that I frequent. Nope, in Hamilton it is just more of the blight that keeps our city down. Ooops don’t forget some of these curators are the hobbyists that you should watch out for.
What do hobby artists do to a community? They rob it of any sense of professionalism.
This in turn erodes the community’s confidence in the commitment of the work they are looking at. And also reduces all serious artists to the lowest common denominator. What ever you do don’t become a full time artist in Hamilton, you will be ignored. Just ask the other full time artists, who ever they are.
January 19, 2005
abbreviations
WORDS ABBREVIATE OUR UNDERSTANDING OF THINGS
The word snowflake puts a cap on that concept. As in, "oh those are snowflakes." But in reality they are complex ice crystals that come in varying forms and infinite shapes. A point sadly missed if one is regarding a snowflake. This is perhaps why it has taken us thousands of years to build a language barely adequate to communicate our understanding of the world around us. And also why language requires us to string together complex lines of these abbreviated meanings to get back to the initial understandings of the concepts behind them. From the Hopi to today we seem to have evolved toward making things that start out simple more complicated to understand, moving backward as it were. This being a direct result of written languages need to be economized thus abbreviating or cutting off the natural webbing of meaning. Only in works of poetry do we find words that fold in on themselves adequately enough to produce vast meanings and feelings in a terse vehicle.
Abbreviation =complexity
Editing= simplicity
chriseddy
The word snowflake puts a cap on that concept. As in, "oh those are snowflakes." But in reality they are complex ice crystals that come in varying forms and infinite shapes. A point sadly missed if one is regarding a snowflake. This is perhaps why it has taken us thousands of years to build a language barely adequate to communicate our understanding of the world around us. And also why language requires us to string together complex lines of these abbreviated meanings to get back to the initial understandings of the concepts behind them. From the Hopi to today we seem to have evolved toward making things that start out simple more complicated to understand, moving backward as it were. This being a direct result of written languages need to be economized thus abbreviating or cutting off the natural webbing of meaning. Only in works of poetry do we find words that fold in on themselves adequately enough to produce vast meanings and feelings in a terse vehicle.
Abbreviation =complexity
Editing= simplicity
chriseddy
January 18, 2005
ARTIST AS NOMAD
Artist as nomad
In my research of my first nations heritage I was surprised to find a model of a nomadic life style that I had not encountered before and one that offers an insightful metaphor into the artist as nomad.
The first nations people that I am descended from call themselves the Mi’kmaq. They are one of the first people here to have first contact with Europeans. But it is their recorded nomadic life style that I would like to discuss here. The Mi’kmaq made their homes out of tree poles, spruce roots and grass mats or birch bark. These wigwams were easily moved around. The Mi’kmaq migrated following the appropriate seasons. In the winter they live in small family clans alone in the forest. In the spring they would move to a planting area. And then in the summer months they would relocate at predetermined places along the coast. They would settle into the same area and form a tribal community. The leader or chief was chosen out of the heads of the larger family units, and was a temporary figure for the summer. In the fall they would break up and trek to their own harvest grounds and then retreat in smaller family units into the forest for a winter of hunting.
It is not hard to see how this social model not only speaks of our liberation from property ownership, but also of a need to be both social and individual, a need to form our own territories and to find ways to share these meanings with others. As Delueze and Guattari point out, in a capitalistic society our desires vacillate between the two poles, schizophrenic and paranoiac.
We see in the Mi’kmaq way of life that the two disparate poles of desire take the lead at different times of the year. Paranoiac desires requiring social codifications are fulfilled in the summer months. Objectives like the coupling of young people would be accomplished. The winter months seeing the schizophrenic need to be alone and revolutionary/anti-social being fulfilled. This is the time for self expression through art and writing. Yes the Mi’kmaq were known to have a form of writing that they kept secreted in birch bark boxes.
How does all this relate to artists? If we look at some of the problems with artist groups and collectives this soon becomes apparent. There have been many attempts to organize artists. We have seen groups that tend to work more from the paranoiac pole (group or mob mentality) which has resulted in artists being forced into boxes of someone else’s choosing. Someone else’s idea of what art is or should entail, or what should be shown in order to get the most points for grants or institutional notoriety. They are asked to jump through stylistic hoops or be judged from within their peers. The structure of group codifications dictates a subversion of individual freedoms to allow the group to function.
As Andre Malraux makes clear in The Voices of Silence, artworks are to be understood in the context of the artist’s body of work not a larger grouping. Making what we have come to know as the “isms” ineffectual to adequately describe a work of art. Asking an artist to conform to group mentality runs the danger of adding a condition to their own plane of composition. It would be like adding a prerequisite to their creativity. A creativity that already finds value in the context of the induvidual artist.
We need to see artists as natives, nomads, free to create new percepts and affects. Artists, that are aware of, but unfettered by outside codifications, artists as the winter hunter alone to define a new spring becoming.
But in reality artists like the Mi’kmaq people can not survive alone in the forest forever. Artists depend on accesses to the outside codified capitalist world for their survival. A survival that is well recorded through out history to have left the artist crippled and marginalized, artist’s groups or co-ops being a recent attempt to empower the artist. This resulted only in empowering organizations and their membership’s definitions of art.
I think that if we look at the Mi’Kmaq model for inspiration we can come to an understanding of how to group artists without compromising their individuality.
If artists use the codes of their society to organize themselves they will inevitably be victims of these codes. Codes that are set up for socialization and not artistic individual goals. Think tanks, chat sites, sweat lodges, or roundtables can be open groups where everyone is equal in their intellectual input. Perhaps it is time the artists formed nomadic partnerships and met in sweat lodges instead of galleries and boardrooms. Modernism pointed out the individuality of the artist but failed to insure it. Postmodernism pointed out the equality amongst artists/text but failed to create a bridge between the individual understandings and society.
The nomad is free, part of the land not owner of it. The nomad seeks and doesn’t build. The nomad is constantly moving and not growing roots. The nomad is not alone but part of everything. The nomad eats, drinks, thinks, and makes love. To embrace the nomadic in thought and action is to start to truly create what is yours/ours.
by chriseddy
In my research of my first nations heritage I was surprised to find a model of a nomadic life style that I had not encountered before and one that offers an insightful metaphor into the artist as nomad.
The first nations people that I am descended from call themselves the Mi’kmaq. They are one of the first people here to have first contact with Europeans. But it is their recorded nomadic life style that I would like to discuss here. The Mi’kmaq made their homes out of tree poles, spruce roots and grass mats or birch bark. These wigwams were easily moved around. The Mi’kmaq migrated following the appropriate seasons. In the winter they live in small family clans alone in the forest. In the spring they would move to a planting area. And then in the summer months they would relocate at predetermined places along the coast. They would settle into the same area and form a tribal community. The leader or chief was chosen out of the heads of the larger family units, and was a temporary figure for the summer. In the fall they would break up and trek to their own harvest grounds and then retreat in smaller family units into the forest for a winter of hunting.
It is not hard to see how this social model not only speaks of our liberation from property ownership, but also of a need to be both social and individual, a need to form our own territories and to find ways to share these meanings with others. As Delueze and Guattari point out, in a capitalistic society our desires vacillate between the two poles, schizophrenic and paranoiac.
We see in the Mi’kmaq way of life that the two disparate poles of desire take the lead at different times of the year. Paranoiac desires requiring social codifications are fulfilled in the summer months. Objectives like the coupling of young people would be accomplished. The winter months seeing the schizophrenic need to be alone and revolutionary/anti-social being fulfilled. This is the time for self expression through art and writing. Yes the Mi’kmaq were known to have a form of writing that they kept secreted in birch bark boxes.
How does all this relate to artists? If we look at some of the problems with artist groups and collectives this soon becomes apparent. There have been many attempts to organize artists. We have seen groups that tend to work more from the paranoiac pole (group or mob mentality) which has resulted in artists being forced into boxes of someone else’s choosing. Someone else’s idea of what art is or should entail, or what should be shown in order to get the most points for grants or institutional notoriety. They are asked to jump through stylistic hoops or be judged from within their peers. The structure of group codifications dictates a subversion of individual freedoms to allow the group to function.
As Andre Malraux makes clear in The Voices of Silence, artworks are to be understood in the context of the artist’s body of work not a larger grouping. Making what we have come to know as the “isms” ineffectual to adequately describe a work of art. Asking an artist to conform to group mentality runs the danger of adding a condition to their own plane of composition. It would be like adding a prerequisite to their creativity. A creativity that already finds value in the context of the induvidual artist.
We need to see artists as natives, nomads, free to create new percepts and affects. Artists, that are aware of, but unfettered by outside codifications, artists as the winter hunter alone to define a new spring becoming.
But in reality artists like the Mi’kmaq people can not survive alone in the forest forever. Artists depend on accesses to the outside codified capitalist world for their survival. A survival that is well recorded through out history to have left the artist crippled and marginalized, artist’s groups or co-ops being a recent attempt to empower the artist. This resulted only in empowering organizations and their membership’s definitions of art.
I think that if we look at the Mi’Kmaq model for inspiration we can come to an understanding of how to group artists without compromising their individuality.
If artists use the codes of their society to organize themselves they will inevitably be victims of these codes. Codes that are set up for socialization and not artistic individual goals. Think tanks, chat sites, sweat lodges, or roundtables can be open groups where everyone is equal in their intellectual input. Perhaps it is time the artists formed nomadic partnerships and met in sweat lodges instead of galleries and boardrooms. Modernism pointed out the individuality of the artist but failed to insure it. Postmodernism pointed out the equality amongst artists/text but failed to create a bridge between the individual understandings and society.
The nomad is free, part of the land not owner of it. The nomad seeks and doesn’t build. The nomad is constantly moving and not growing roots. The nomad is not alone but part of everything. The nomad eats, drinks, thinks, and makes love. To embrace the nomadic in thought and action is to start to truly create what is yours/ours.
by chriseddy
January 11, 2005
nEotEXT 8
In search of a muse
There is no vitrine
Or glassed in diorama
Containing the muse
In the namesake castle
But traces can be found
Between the object's decorum
Through the vast halls
In every museum
Out in the park
A fountain says "spewing"
There are statues, sculptures
Just for viewing
And even though this is absolutely amusing
There is only a hint
Of the muse coming through it
With the radio on
Inside of your head
It’s the music's world playing out
The text that is read
Here in the sounds it is also know too
That the footprints of the muse
Are left there as clues
The sacred place
Deep inside of you
Is where you will find the leavers of clues
The ones that we search for
And have faith they will come
The muses, the mused,
Our creativity begun.
More.....
There is no vitrine
Or glassed in diorama
Containing the muse
In the namesake castle
But traces can be found
Between the object's decorum
Through the vast halls
In every museum
Out in the park
A fountain says "spewing"
There are statues, sculptures
Just for viewing
And even though this is absolutely amusing
There is only a hint
Of the muse coming through it
With the radio on
Inside of your head
It’s the music's world playing out
The text that is read
Here in the sounds it is also know too
That the footprints of the muse
Are left there as clues
The sacred place
Deep inside of you
Is where you will find the leavers of clues
The ones that we search for
And have faith they will come
The muses, the mused,
Our creativity begun.
More.....
January 09, 2005
January 02, 2005
-neOteXT 7
Rear Axel
Jazz Radio
Rain window background
Car tires rush water
Between sax solo
And drums
New beat vibration
Moving water falls
daggers of water
stabbing the piano
Mind is where?
Bare bulb energy saver
Glares inside
Rains envelopment
Water prison bars
Focuses freedoms
Life’s and umbrella’s
Cinematic rain standing
Naked
Ends of lines, water
Pounding the flesh
Pounding the heart
Freedom or fuckyou
Or just pure desire?
Jazz instruments sing
Indoor songs
To the rain
That beats the rhythms
Of natures chaotic response
Rhizomes in the middle
Slide off in infinite directions
Becoming in flow
Pure joy
More.....
Jazz Radio
Rain window background
Car tires rush water
Between sax solo
And drums
New beat vibration
Moving water falls
daggers of water
stabbing the piano
Mind is where?
Bare bulb energy saver
Glares inside
Rains envelopment
Water prison bars
Focuses freedoms
Life’s and umbrella’s
Cinematic rain standing
Naked
Ends of lines, water
Pounding the flesh
Pounding the heart
Freedom or fuckyou
Or just pure desire?
Jazz instruments sing
Indoor songs
To the rain
That beats the rhythms
Of natures chaotic response
Rhizomes in the middle
Slide off in infinite directions
Becoming in flow
Pure joy
More.....
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