(no subject)
Interviewed by ludwig_primanti
1. Describe another possible world that includes you.
2. A volery is both a flight of birds and a cage for birds. Should we draw something about you from the tension in that image?
3. What is the most inappropriate thing you have ever laughed at?
4. Are all of the photos on your site your own (i.e. you took them)? If so, describe the difference between photographing something and writing about it.
5. Does the water really counter-clockwise down the drains in Australia? All of America is dying to know.
1. Describe another possible world that includes you.
It is dawn in another possible world and i am pottering in the fruit tree grove, I love nothing better than erratically picking and pruning as the mist slowly dissolves, exposing fruit to a full range of its ripening colours… in this other possible world I have tightened up and densified the links between what I and others eat, do, need and desire. Complex relations of exchange have permeated and partially eroded my nexus in the cash economy - I am a conduit - a smooth channeller amongst other channellers … later in the morning I find deep shade in the workshop where I return to my project at hand; a functional sculpture of some sort. In the afternoon I do some work in the herb patch, I notice that my salvia divinorum has gone to seed and think, how wonderful, b. really wants to grow some of his own. What was I doing back then I think … devoting so much time to one scholarly task - no wonder you got sick all the time.
2. A volery is both a flight of birds and a cage for birds. Should we draw something about you from the tension in that image?
I guess the main thing with volery is my interest in what it takes to feel like i/we are engaging with things and people from our own sense of becoming. So there is volery 1, the aviary, which is large enough to fly in - often a safe, wonderful space, other times stifling. Its image for me this morning is a yoga studio; here I will prepare and practice with the energy of others. Volery 2 is a flight of birds. This is some kind of a political image I guess, just like the pineal gland tells birds to migrate, ‘keep moving, keep moving’ so is this impetus to recompose elsewhere: a new yoga teacher, new people that can teach me different things about the problems that I face, a live journal, a creative project. Volery 2 is the project in motion. Volery 3 is ‘a flying’, for some reason I cut that third meaning out from the Miriam Webster - I think - entry I lifted some time ago. The third meaning seems like both the deconstruction and the composition to any binary that might emerge between 1 and 2. A flying is an absolute singularity, how I desire to engage with people, things and events in as raw a state as possible. I guess 3 is the joy, the experience of my movement beyond myself.
3. What is the most inappropriate thing you have ever laughed at?
Tricky to isolate one. Seems like they all have such a different quality as to render magnitude obsolete… this one comes to mind because I had a purging of old stuff recently and came across a photo I took on a school trip when I was about 11 to some underground caves with stalactites and mites and stuff. In it a teacher, Mr B. has his hand on my friends D.'s neck - the sexual undercurrent hit me hard. They are both smiling but D. has a slight anxiety, I think of the time we were at a kids punk party, we were all dressed up (I even stuck a safety pin through my ear for the occasion) and some of the other boys were teasing D. about wearing his mom’s jeans. He was red faced again; I remember laughing too and him looking at me with his expression of betrayal (and I wore my moms jeans too). We used to run cross-country together, we were good, and sometimes would come in joint first - and one time sauntered in joint last (an interesting story). From then on he used to run at me, try and fight me and stuff and I would use his strength against him, he got hurt a couple of times. I really let him down, signified by my laughter that day, and Mr B. was a lousy replacement for his father who had died recently.
4. Are all of the photos on your site your own (i.e. you took them)? If so, describe the difference between photographing something and writing about it.
yeah, I took most of the photo’s … this is good question, I will need to give it more thought. There are so many different ways of writing and different ways of taking photo’s. With regard to photographing and writing about the same subject matter I think there is not that much difference because the elements of concern are the same, the things in the photo, the context of taking it, the micro-ethics of the shot, who is using who. Digital photo’s are more tangibly participatory and allow for these elements to play themselves out faster; a quicker appraisal fix. Photo’s are such a capsule of potential, allowing for detailed appraisal and further effects later, I don’t think my childhood journal contains reflections on D. and Mr B., say. I love a high saturation of pixels to delve into. Photos change the mandelbrot tragectory, evoking detail/abstraction that gets easily lost in fluidity of contexts.
4. Does the water really counter-clockwise down the drains in Australia? All of America is dying to know.
Careful Ludwig, mass death by the expectation of Coriolis verification could be a heinous new terrorist weapon.
1. Describe another possible world that includes you.
2. A volery is both a flight of birds and a cage for birds. Should we draw something about you from the tension in that image?
3. What is the most inappropriate thing you have ever laughed at?
4. Are all of the photos on your site your own (i.e. you took them)? If so, describe the difference between photographing something and writing about it.
5. Does the water really counter-clockwise down the drains in Australia? All of America is dying to know.
1. Describe another possible world that includes you.
It is dawn in another possible world and i am pottering in the fruit tree grove, I love nothing better than erratically picking and pruning as the mist slowly dissolves, exposing fruit to a full range of its ripening colours… in this other possible world I have tightened up and densified the links between what I and others eat, do, need and desire. Complex relations of exchange have permeated and partially eroded my nexus in the cash economy - I am a conduit - a smooth channeller amongst other channellers … later in the morning I find deep shade in the workshop where I return to my project at hand; a functional sculpture of some sort. In the afternoon I do some work in the herb patch, I notice that my salvia divinorum has gone to seed and think, how wonderful, b. really wants to grow some of his own. What was I doing back then I think … devoting so much time to one scholarly task - no wonder you got sick all the time.
2. A volery is both a flight of birds and a cage for birds. Should we draw something about you from the tension in that image?
I guess the main thing with volery is my interest in what it takes to feel like i/we are engaging with things and people from our own sense of becoming. So there is volery 1, the aviary, which is large enough to fly in - often a safe, wonderful space, other times stifling. Its image for me this morning is a yoga studio; here I will prepare and practice with the energy of others. Volery 2 is a flight of birds. This is some kind of a political image I guess, just like the pineal gland tells birds to migrate, ‘keep moving, keep moving’ so is this impetus to recompose elsewhere: a new yoga teacher, new people that can teach me different things about the problems that I face, a live journal, a creative project. Volery 2 is the project in motion. Volery 3 is ‘a flying’, for some reason I cut that third meaning out from the Miriam Webster - I think - entry I lifted some time ago. The third meaning seems like both the deconstruction and the composition to any binary that might emerge between 1 and 2. A flying is an absolute singularity, how I desire to engage with people, things and events in as raw a state as possible. I guess 3 is the joy, the experience of my movement beyond myself.
3. What is the most inappropriate thing you have ever laughed at?
Tricky to isolate one. Seems like they all have such a different quality as to render magnitude obsolete… this one comes to mind because I had a purging of old stuff recently and came across a photo I took on a school trip when I was about 11 to some underground caves with stalactites and mites and stuff. In it a teacher, Mr B. has his hand on my friends D.'s neck - the sexual undercurrent hit me hard. They are both smiling but D. has a slight anxiety, I think of the time we were at a kids punk party, we were all dressed up (I even stuck a safety pin through my ear for the occasion) and some of the other boys were teasing D. about wearing his mom’s jeans. He was red faced again; I remember laughing too and him looking at me with his expression of betrayal (and I wore my moms jeans too). We used to run cross-country together, we were good, and sometimes would come in joint first - and one time sauntered in joint last (an interesting story). From then on he used to run at me, try and fight me and stuff and I would use his strength against him, he got hurt a couple of times. I really let him down, signified by my laughter that day, and Mr B. was a lousy replacement for his father who had died recently.
4. Are all of the photos on your site your own (i.e. you took them)? If so, describe the difference between photographing something and writing about it.
yeah, I took most of the photo’s … this is good question, I will need to give it more thought. There are so many different ways of writing and different ways of taking photo’s. With regard to photographing and writing about the same subject matter I think there is not that much difference because the elements of concern are the same, the things in the photo, the context of taking it, the micro-ethics of the shot, who is using who. Digital photo’s are more tangibly participatory and allow for these elements to play themselves out faster; a quicker appraisal fix. Photo’s are such a capsule of potential, allowing for detailed appraisal and further effects later, I don’t think my childhood journal contains reflections on D. and Mr B., say. I love a high saturation of pixels to delve into. Photos change the mandelbrot tragectory, evoking detail/abstraction that gets easily lost in fluidity of contexts.
4. Does the water really counter-clockwise down the drains in Australia? All of America is dying to know.
Careful Ludwig, mass death by the expectation of Coriolis verification could be a heinous new terrorist weapon.