Begin the stream of
Consciousness
(or listen to the live performance)
Final Project: Ruan Lingyu
Milo moon'ed everybody, in retrospect it's the best recording.
Been trying to record & produce it with baatchoy, but he's in D.C.
Would love to trial-test new iterations with automated sound, jokes, and improv.
Intro:
Hu di-e hu di-e
San ke xin
Hu di-e hu di-e
San ke xin
Hu di-e hu di-e
San ke xin
La di da, day, lai, hui lai
--
First Verse:
It's soda timpani tom
Street signs pull you forward
Tolkien days a lonesome
I tried to think of it sideways
Mendelsohn toast, local hoax
Genre lands, fusion Poe
Crow Tries to reach echelons/the threshold
I tried to hint @ it my way
Bridge:
Portside, Taiwanese drawn
Stroke order chasing, jokes and displacing,
Converse, Flower Drum Song,
I say: ______
Lyrics to flow/brige:
So many questions but questions have Appeals
Tryna/China flunk, but I found some new deals
Theres: historiography
testaments to topography
But on & on we're grinding and on & on we're colliding
In Orbit, we found spare change
In Orbit we found Mercy but I'm maintaining my faith
from Protestant journeys and....
La di da di da di da
What's even Evangelical
Converting my hassles/tassles
When NGE's overstreamed and Crunchyroll's a hassle
La di da di da di da
Vocal bites/overlays:
- Will be sample dialogue and fake proverbs on Chinese idioms I still remember
Final verse:
Brechtian thrums, humdrum done
Trilinguil, trying to stay float
OBS bit overload
I say: Did you try turning it off and on again?
We succeeded in coming here,
So how'd we come out.
- rix, ta/they/hir.
Here is the iteration/first draft we tried a few weeks ago:
For week ? 4/26/21
I'm still finishing a piece, but here are the lyrics:
It's soda, timpani tom
Street signs pull you forward.
Tolkien days a lonesome
I tried to think of it sideways.
Mendelsohn toast, local hoax
genre lands, fusion Poe.
Crow tries to reach the threshold
I tried to hint at it my way--
Portside, taiwanese drawn.
Stroke order chasing,
Stroke order chasing,
Conversion , Flower Drum Song...
I say yu gong yi shan / you think of it feng shui.
Extra lyrics to workshop:
Brechtian thrums, humdrum done
Trilinguil tryna stay float
OBS bit overload
I say 'did you try turning it off and on again?'
Other words:
Taichiquan
yong style
chen style
fa song, li wah, zhen de ma, 'chop suey'
yu gong yi shan as progeny cycle
Maoist formulation / human will being more powerful
'We succeeded in coming here'
So how'd we come out ,
B major? 1 capo on the first fret of a baritone ukelele.
There's a prose / bridge that comes later but it's pretty strange.
I'd have to kind of stutter/speak it to you all to feel the beat.
I can also overlay the song with a video, that I'm still preparing on my laptop. Around 7 minutes!
And more journaling:
After presenting project proposals: Runwayml
Super thankful for this class--here's what I trialtested because I couldn't put it on the Miro board.
Mixing what we learned from Blender with an old choreography film based in butoh.
- rix
4/20/21
Nester Precursor: I have a song ready but it's 5 pages on my laptop.
Notes for class:
"There is a girl in the Aether" turned into a boy, if that's okay. I want to build up to a premise as fine-tuned as the anime Planetes --it still hits me it's so fucked up.
In script-writing I need help workshopping certain questions:
- How can I incorporate pronouns without hampering dialogue?
- In introducing Nester and the world-building -- to add onto the Feng Huang and Alan prologue -- how can I create a boy without alluding to a vegetative state or space transport or diagnoses?
- Is Nester a boy? lmfao
- Buildup to a music EP or animated film? How can I shorten my goal within one medium without short-circuiting?
Thanks so much, rix
4.19.21
Final Project so far:
My Process:
I enjoy rudimentary thought, and to do lists. Isolation has helped me understand the floorboards.
In the book the Dao of Taijiquan, I've realized that the music score and syncronicity applies to loneliness.
Isolation is not only prime meridians, but typeface. Fingertimes, bubbling wells. I can present my score and song as improv, without music. But it's in B Major,
If anyone wants to sing along, as the video plays.
Here's also a backlog of my notes from class--it's helping me find music notation in times of transit.
Week 10: blender notes and screenshots:
Counts as 15 images? Can present/screenshare what I found and keyboard shortcuts:
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In relation to the short story flatlands would any tell how to film this? Or what it is?
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I felt cinema while editing on blender--taking screenshots, moving my cursors, there's a cityscape within your screen.
4.5.21
Week 9.5: Re-configuring Blender:
If you need any references regarding my family, please view the following clip:
Thanks so much for understanding - rix
Spring break: travel-loguing
Today I snipped my mail. Not like a usual haircut--an inch at a time, geometric bob, purple bangs?--but more like a diy hairdresser.
Snipping mail's like an automated shredder. Each zzzz from the machine adds a thin strip of matte paper. A polaroid folded in origami. A school ID sticky and kept.
A secret and name printed on a card. A middle name, a height, a haircut. No date of birth.
I'm old enough for bars now. Didn't bars open sooner than schools?
I'm fine with dancing now. Didn't samba come from Brazil?
I can use instagram now. Where did my phone go?
Diaspora's a funny thing. I've been using the word to explain my extended family--I don't really know how they're doing on Whatsapp. But I muted my messages.
The haircut's nice though. Now we've got old cards in whole foods bags and strands of hair in the yard. It's a pretty pile of fall leaves.
- cuttlefish3d
Week 6: Michael Heizer and Tinkercad
Levitated Mass
Imagine a future of collaged memory, strangers partaking in a search function, flicking thumbs and eyes.
Teeming interaction between human & machine that’s not quite seamless, but cut and pasted.
It’s the tactile dissociation within our filaments, between us and Interface.
Is our internet working?
Fragments of light frost all our bodies. I bought this bouquet for you, my moon:
“Throughout his career, in paintings and in sculptures, Heizer has explored the aesthetic possibilities of emptiness and displacement; his voids have informed public art from the Vietnam Memorial to the pits at Ground Zero. “Levitated Mass,” a three-hundred-and-forty-ton chunk of granite that since 2012 has been permanently installed at the Los Angeles County Museum of Art, is one of the few sculptures in the world designed to be walked under, an experience that strikes most visitors as harrowing. Heizer once told Vander Weg he’d like his tombstone to read, “Totally Negative.”’
Response:
Film:
In translating the objective of site-specific work, “the real power of conceptual art,” we see how negative sculptures require physical space and the journey of infrastructure.
Birthed in geology, mining, and construction, the immediate response to what surrounds us is to look past the horizon.
Past earth, what’s the next ocean to the urban plan?
Artificial erosion still reminds me of the passage of time and the groups of people involved in earth-watching.
I enjoy the erosion of “the double negative.” “Levitated mass” becomes a logistical zen garden.
I thought of skyscrapers as Babylon and highways as eroded marches.
Heizer’s team combines construction alongside streets and highways.
I’m particularly drawn to the negative space of his man-made canyons.
It reminds me of Richard Serra’s copper hallways, as well as Paolo Soleri’s ceramic-studio amphitheaters.
I also love the combination of geometric construction objects and boulders.
I want to rock climb them as candid playgrounds. And I see how people would enjoy the spacious tunnels and unlikely roads.
Why do we enjoy man made, sunken passageways? There are rivers, erosion, No-Man’s Land.
Yet we revel in the cubic cleanliness dug into our earth. “Negative space” suddenly becomes a this-or-that space.
I believed bodies of water provided negative space on maps, and tributaries and rivers as veins.
But with Heizer’s work, we can explore a new level of space before we travel past it--outer space versus inner crust.
“Artificial irregularity” still feels normal to us with the paths we take and create--highways, subways, tunnels.
We want bridges, mainland cities, ports. Considering urban sites and desert infrastructure,
we enjoy the communal passing-by of sculptural monuments. We implant pieces in public parks for kids to climb and pedestrians to crowd.
And suddenly work like Heizer’s considers the traffic and everyday movement of people.
Is it a fickle Aquarian age, where organized labor becomes communal architecture?
There’s Richard Serra’s copper hallways, Paolo Soleri’s ceramic-studio amphitheaters.
After the drought, artistic research searches for the desert. And as Ai Wei Wei travelled,
his own studio includes a community built pipeline supporting other local artists and immigrants.
Creative producers still require the hands of others. Timelapses and citizens feel part of the circulatory economy
that Heizer’s work promotes. And local support with private funding clears my head regarding art-making.
It still feels like architecture and a trickle-down, gentrified system though. Or perhaps artistic support and
museum-going based in local interviews add to the town-building. “It’s not a time to relax,” said by a construction worker.
Like the silent support in 99pi’s Structural Integrity.
Article:
A random sidenote: Barrett Newman creates negative space within the traffic of museums.
I never learned to appreciate his paintings in person until sitting still, and watching the floating figures walk toward and past.
We become ghosts and celabrators of established site to move within. And those like Michael Heizer create a singular vision and
artistic process to share.
I’m curious about contemporary monuments. We like markers within deserts.
“Emptiness and displacement” continues to inform my inner-movement work.
We we don’t feel accepted in New York traffic, of course an escape and contemplation follows.
Stargazing. How can performance artists dance in response to certain chunks of stone?
(Richard Serra’s https://www.nytimes.com/2019/08/28/arts/design/richard-serra-gagosian-sculpture.html)
We still attach geometric minimalism to “primitive sites.” We’re drawn to the larger than life objects yet only remember individual name and title
--Pharoah, Heizer, Nebuchadnezzar. Do we have to? When displacement is a dysphoric individual world? Ultimately, public safety
is sacrificed for public benefit.
I deeply appreciate Heizer's self-created purpose and individual rummaging for resources. Desert adaptation and
learning about artifacts is a beautiful project when applied to site specific landscapes.
I don't know. There's always inspiration for me when I attach my movement-work to sculptural integration.
These geometric forms organically inform the installation. I want to include Heizer's vision with my own curiosity--
churches in the middle of nowhere, the Mohave Phone Booth. I'm drawn to the desert--from Phoenix, Arizona. And
I still miss climbing Camelback Mountain and dancing in Joshua Tree.
Tinkercad sidenote:
I experimented without a clear vision--really playing around with randomness and space like my previous projects.
Apologies for the lateness, but I hope we can go over how to implement/export the glb files to modelviewer and bongolo.
How do people hear about these tech sources? Word of mouth/forums? Does anyone recommend any?
-[>] NYC = Discuss the Science, working model [(sidenotes)]
Notecards = Traveling
Picnic = Food
Candid Movement = Install
Color Palette = Steven Universe.
Bird sidenote/journaling:
Week 5: Extension
Rix's Log: Talking
on 3.9.21
trying to adjust : Zoom out for poetry. Looks best on laptop at fullscreen or minimized window, or live with others.
("There is a (girl) in the aether")
(there is a girl in the aether )
....
How can we process?
Where can we look?
Can we wait?
How far can we keep...
Week 3
Fleurotica/Exquisite Corpse: Videos and Audio
on coincidence, love, decay/regen
in the mi page: Zoom out for poetry. Looks best on laptop at fullscreen or minimized window.
< love > < andante >
< coincidence > < cantabile >
< decay/regen > < allegro > < tw : meat and weird voices >
Poems transcribed:
(love) (andante)
There’s that paper thin moment
between you and your other
that feels like glass.
But,
like ice,
teeth
tendons
turquoise
:
Trust.
(coincidence) (cantabile)
codelengthscopperconduits
I n t e l c o r e s
Tiled disciples
Professor as host
typetypetiptap snow.
Then,
A ladybug
(decay/regen) (allegro)
We left duck in the oven.
She charred to obsidian.
^ 2.23.21
Week 2
Packing for Mars : Mary Roach
< Collected breath > < Winslow Homer >
There’s a lot of weight to the word test these days, that holds a too-silent pain. Getting tested, scoring the guesstimated amount, to a T of positive or negative. It’s consequentialist--did you or didn’t you?
You fill in the right bubbles with an HB pencil to reach your perfect score. You pee on a stick sometimes to figure out your funny insides, to hand the warm cup to a licensed stranger. They stuck a stick up your nose. All the while, your mom has expectations for you. Will you or won’t you?
It’s communal and lonely. I don’t see tests as that one-man narrative, hero’s journey of I Passed. Positive. All good now. It’s more cyclical, ingrained, and a tiny bit more tortuous than that.
Sisyphus rolls a big-ass rock up a hill all the time. Prometheus’s got a self-created liver transplant every day, from a fuckin’ bird. Chang’e waits on the moon for eternity for her lover. Always in waiting. I thought Jesus died every year for us, and panicked every Christmas for his body. Cycles and all.
It’s overwhelming, isn’t it? It’s why I keep imagining < pull up Right and Left by Winslow Homer > these birds. And the curvature of throwing a baseball up in the air. There’s that moment in between the Come-UP and Come-Down, where there’s nothing. No acceleration, no movement (despite all the big-boy up/down movements on either side), no gravity as Judge quite yet. It’s breath retention, between your inhale and exhale. A little red balloon on a string. A bird or two, hunted or hurrying to flee--suspended in the air either way.
It’s my favorite way to interpret the tests of purgatory. Just breathe, like usual. If a test can be an airplane, count me in.
In & Of Itself : Derek DelGaudio : Walter Mitty Magician
I got a love-hate relationship with stories. Filling out the blank page, suspending belief or baring authenticity. Words become viscera and the page is your skin. I don’t know if the loaded gun on a stage helps. There’s no need to risk the value of your life through performance. It can be more subdued than the Walter Mitty protagonist performer, making odds so high for--spectacle? Cocking the gun’s a cute cock ego but I’m all about suicide prevention. Tiny quips of sound bites besides the cocking help with the interludes. Squares--indented frescos, picture frames, lightboxes, deck o’ cards--become sequential narratives, skewed bookshelves, board-gamey. The chapters and parables help with pacing. My favorite part's the incidental layers that flicker in faces--this film collects a deck of one man’s performances. What crawls out are reactive and chemical--laughter, improv, audience participation accumulating over documentary. Documentary saunters through big books and scene cuts and one man’s face over time. Pretty neat! We just don't have to push the magician into the tub of sharks blindfolded, but I know he knows that.
^ 2.16.21
BTS: started with a streamline of consciousness:
^ 2.9.21