4 November 2015
A WORLDWIDE CALL BY GUSTAV METZGER FOR A DAY OF ACTION TO REMEMBER NATURE
THIS APPEAL IS FOR THE WIDEST POSSIBLE PARTICIPATION from the WORLD OF THE ARTS
THE AIM IS TO CREATE A MASS MOVEMENT ACROSS THE ARTS to ward off EXTINCTION
“The art, architecture and design world needs to take a stand against the ongoing erasure of species – even where there is little chance of ultimate success. It is our privilege and our duty to be at the forefront of the struggle. There is no choice but to follow the path of ethics into aesthetics. We live in societies suffocating in waste.” Gustav Metzger, 2015.
Our task is to remind people of the richness and complexity in nature; to protect nature as far as we can and by doing so art will enter new territories that are inherently creative, that are primarily for the good of the universe.
What we want to do – what is ahead for us is to bring together the world of the arts – to unite in having a day of art actions covering the entire country. We call those who engage in the arts to participate in a day of mass action, to create a collective artwork to Remember Nature.*
Here is my contribution to the Remember Nature project – a photograph of giant icicles I took in Iceland.
*Copy taken from the Remember Nature press release.
I am delighted to be part of the invited audience for this forthcoming BBC Radio 3 live broadcast.
Robert Worby presents a live broadcast of a performance by the Spanish electronic composer and sound artist Francisco Lopez. Appearing at London’s Café Oto for the first time, Lopez will perform two forty-minute pieces, specially created for Hear and Now, mixed and diffused in quadraphonic sound through speakers placed in the four corners of the room. Lopez is recognized as one of the foremost artists working with sound today, and has developed a highly original and uncompromising sonic language that utilizes his own recordings made in some of the harshest natural and industrial environments around the world. This broadcast will be made available as 4.0 surround sound, both live and for 30 days after transmission.
The full article by Zbigniew Karkowski (written in 1992) is below. The quotation is taken from the end of the article.
Following the PoetryFilm event in Cork, today PoetryFilm is heading to Dublin.
The recent comments by Nicky Morgan, the Education Secretary, brought to mind Sir Ken Robinson’s well-known TED Talk in which he makes a case for creating an education system that nurtures and encourages creativity.
The full transcript of the talk is below (with timings).
“In this new radio drama from Peter Blegvad and Iain Chambers, the transformative power of storytelling is explored through Zoe, a psychiatric patient who believes she is the Queen of Time. Zoe is confident that her map-like drawings can evoke the ‘eternal moment,’ in which she’ll be set free of time itself. She also believes Cody, her art therapist, is the other half of her divided self – the King of Time.
Radiotonic proudly presents The Eternal Moment in conjunction with ABC-wide programming in support of Mental Health Week.” (ABC = Australian Broadcasting Company)
Eschatology is a poetic exploration of the end of everything: of land where we take to ships, of radio contact when white noise fills the receiver; of individual sounds as they echo into space.
Black Death Ship, H.C. Westermann, 1972
On Saturday 20th September at 10pm BST, Langham Research Centre and Peter Blegvad present a live broadcast for BBC Radio 3 from Broadcasting House.
Written and narrated by Peter Blegvad, the last survivors are played by Harriet Walters and Guy Paul. Susan Rae delivers updates on the apocalypse as it spreads around the planet.
Music and sound effects are composed and performed by Langham Research Centre, using vintage electronic instruments and tape machines.
Bernadette Mayer’s Writing Experiments
* Invent a new form.
* Make a pattern of repetitions.
* Do experiments with sensory memory: record all sense images that remain from breakfast, study which senses engage you, escape you.
* Meditate on a word, sound or list of ideas before beginning to write.
* Write what cannot be written; for example, compose an index.
* The possibilities of synesthesia in relation to language and words: the word and the letter as sensations, colors evoked by letters, sensations caused by the sound of a word as apart from its meaning, etc. And the effect of this phenomenon on you; for example, write in the water, on a moving vehicle.
* Eliminate material systematically from a piece of your own writing until it is “ultimately” reduced, or, read or write it backwards, line by line or word by word. Read a novel backwards.
* Attempt tape recorder work, that is, recording without a text, perhaps at specific times.
* Get someone to write for you, pretending they are you.
* Attempt to speak for a day only in questions; write only in questions.
* Exercises in style: Write twenty-five or more different versions of one event.
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Quotation taken from Laura Mulvey’s essay Visual Pleasure and Narrative Cinema (II. Pleasure in Looking/Fascination with the Human Form).
“A postmodern artist or writer is in the position of a philosopher: the text he writes, the work he produces are not in principle governed by pre-established rules, and they cannot be judged according to a determining judgement, by applying familiar categories to the text or to the work. Those rules and categories are what the work of art itself is looking for.
The artist and the writer are working without rules in order to formulate the rules of what will have been done. Hence the fact that work and text have the character of an event; hence also, they always come too late for their author, or, what amounts to the same thing, their being put into work, their realisation (mise en oeuvre) always begins too soon. Post modern would have to be understood according to the paradox of the future (post) anterior (modo).”
Jean-Francois Lyotard, The Postmodern Condition: A Report on Knowledge