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i plan on developing this more,,, adding subtitles, and audio effects possibly

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You want to give up

                   the taste of cherries?

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Have you seen the moon?
Don't you want to see the stars?
The night of the full moon,
don't you want to see it again?
You want to close your eyes?
Please, take the right fork!
The people on the other side
would like to take a look here
and you want to rush over there!
Don't you ever want to drink
water from a spring again?
Or wash your face in that water?
Turn right!
If you look at the four seasons
each season brings fruit
In summer, there's fruit,
in autumn too
No mother can fill her fridge
with such a variety of fruit
for her children
No mother can do as much
for her children
You want to refuse all that?
You want to give it all up?
You want to give up
the taste of the cherries?
Don't. I'm your friend,
I'm begging you!

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Have you lost all hope?


Have you ever looked at the sky

when you wake in the morning?

At dawn, don't you want to see

the sun rise?

The red and yellow of the sun

at sunset,

don't you want to see that

anymore?

Have you seen the moon?

Don't you want to see the stars?

The night of the full moon,


don't you want to see it again?

You want to close your eyes?

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I had left to kill myself


and I came back with mulberries


A mulberry saved my life

A mulberry saved my life

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My mind was made up,

I wanted to kill myself

I set off for Mianeh.

I reached

the mulberry tree plantations

I stopped there.

It was still dark

I threw the rope over a tree

but it didn't catch hold

I tried once, twice

but to no avail

So then I climbed the tree


and tied the rope on tight


Then I felt something soft

under my hand. Mulberries


Deliciously sweet mulberries

I ate one.
It was succulent.
then a second and third
Suddenly, I noticed
that the sun was rising

over the mountaintop

What sun, what scenery,

what greenery!

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I know that suicide

is one of the deadly sins


But being unhappy

is a great sin too


When you're unhappy

you hurt other people

Isn't that a sin too?

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shortburst clips made with datamoshing-

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what are the effects of repetition?
abursdity or other?

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combination of a collage from earlier- the umbrella photographs with the prompt of "aligning" with typography "Do you want to give up the taste of cherries?" repurposed from the film A Taste Of Cherry

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further attempts at datamoshing- these ones are successful.

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looking at repetition and absurdity based off a line from the film A Taste Of Cherry

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"Do you want to give up the taste of cherries? "

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Looking at Pipilotti Rist' and Ulrich's Do it series,  I am looking at using prompts or words in order to create something. Thinking about using a line from my favourite film as a reference for the multiple forms of work I want to create.

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Looking at contemporary Persian artists, I enjoy the use of decorative traditional elements being turned into something abstract and modern. The calligraphy is almost unreadable and in some cases it is.

I think it would be interesting to create paintings or a moving image video/ stills/ collages of calligraphy using a phrase I like.

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Ehsai , Zenkreh Allah

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Mohammad Ehsai - Untitled, Whisper of Love Series, 2008

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Zenderoudi- Chehel Sotoun

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CONTEMPORARY PERSIAN CALLIGRAPHY (SAQQAKHANA)

Charles Hossein Zenderoudi is an Iranian multimedia artist and founder of the Saqqa-khaneh movement, a genre of art in Iran in the late 1950s that incorporated national, folkloric and religious elements with contemporary art. The use of cultural elements like Arabic calligraphy in his works serve to create a uniquely Iranian brand of modernism, one that did not rely on Western interpretations. “I am a scholar in calligraphy but I am not a calligrapher...Like the architect who uses stones or bricks to construct a building, I use calligraphy to construct my painting,”  "

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Stay Where You Are is a year-long project in which four artists and writers pause to reflect on the appeal of the local

'The Built Moment' by Lavinia Greenlaw is a series of texts drawing on her experiences of the immediate, everyday world as it unfolds through the present moment. Sitting somewhere between poetry and prose, these writings will form the record of a yearlong inquiry into present-tense perception.
Here we present four extracts from the wider body of work.

About, Lavinia Greenlaw
January 30, 2014

Lavinia Greenlaw's most recent works of poetry are The Casual Perfect and A Double Sorrow: Troilus and Criseyde. Her other books include The Importance of Music to Girls and Questions of Travel: William Morris in Iceland. Audio Obscura, her sound work for Artangel, won the 2011 Ted Hughes Award. She currently holds a Wellcome Fellowship and was until recently Professor of Poetry at UEA.

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Stay Where You Are is a year-long project in which four artists and writers pause to reflect on the appeal of the local 'The Built Moment' by Lavinia Greenlaw is a series of texts drawing on her experiences of the immediate, everyday world as it unfolds through the present moment.

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http://staywhereyouare.fvu.co.uk/lavinia-greenlaw.html

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another attempt.

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replacing parts of the script with lines from A Taste Of Cherry

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screencap of a glitch i managed to create. couldnt upload to youtube or padlet (yet)>

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small video made to be corrupted. inspired by using poetry as a prompt, or song lyrics. I am using a line from a film called Taste of Cherry

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umbrella photos (aligning) continued.

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you can learn the mechanics. then do the opposite

a correspondance between the screen and some kind of performance (becomes a different sort of frame?)

i.e the death of a salesman , taste of cherry,
shakespeare novels

what involves staying with the screen and what subverts

how can i present what i want to say without saying it?

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visuals might not reflect whats being said

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these ideas as vignettes

/small contained films containing the essence im trying to portray

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bringing in my ideas more

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manifesting of something

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about formulas in nature (like the spiral, fibonacci sequence)

the cs lecture reminded me of this book i own.
post excerpts here

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reminds me of this

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Crystal Castles 'BAPTISM' //official video

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would be cool to do something along these lines but much shorter notice- like 3 days or a week. and make a painting or map? from it.

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a quote by olafur eliasson

"1. Choose a person, older than yourself, that you see frequently.

2. Everytime you meet said person press your 2-pointing fingers firmly against your eyes for 10-20 seconds until various colours and patterns arise

3. Try to note or memorize the patterns and colours in connection with the context and repeat the practice everytime you meet the person, for a minimum of 6 months.

4. After a minimum of 6 months of this practice you can recall the person, virtually by pressing your eyes for a while. In the midst of the colours and pattern a sense of presence of the chosen person arrives even after the chosen person has died."

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Rethinking the Apocalypse: An Indigenous Anti-Futurist Manifesto
Readable PDF: rethinking the apocalypse-read
Printable zine PDF: rethinking the apocalypse-PRINT

"The end is near. Or has it come and gone before?"
- An ancestor

Why can we imagine the ending of the world, yet not the ending of colonialism?

We live the future of a past that is not our own.
It is a history of utopian fantasies and apocalyptic idealization.
It is a pathogenic global social order of imagined futures, built upon genocide, enslavement, ecocide, and total ruination.

What conclusions are to be realized in a world constructed of bones and empty metaphors? A world of fetishized endings calculated amidst the collective fiction of virulent specters. From religious tomes to fictionalized scientific entertainment, each imagined timeline constructed so predictably; beginning, middle, and ultimately, The End.
Inevitably in this narrative there's a protagonist fighting an Enemy Other (a generic appropriation of African/Haitian spirituality, a "zombie"?), and spoiler alert: it's not you or me. So many are eagerly ready to be the lone survivors of the "zombie apocalypse." But these are interchangeable metaphors, this zombie/Other, this apocalypse. These empty metaphors, this linearity, only exist within the language of nightmares, they are at once part of the apocalyptic imagination and impulse. This way of "living," or "culture," is one of domination that consumes all for it's own benefit. It is an economic and political reordering to fit a reality resting on pillars of competition, ownership, and control in pursuit of profit and permanent exploitation. It professes "freedom" yet its foundation is set on lands stolen while its very structure is built by stolen lives.

It is this very "culture" that must always have an Enemy Other, to lay blame, to lay claim, to affront, enslave and murder.
A subhuman enemy that any and all forms of extreme violence are not only permitted but expected to be put upon. If it doesn't have an immediate Other, it meticulously constructs one. This Other is not made from fear but its destruction is compelled by it. This Other is constituted from apocalyptic axioms and permanent misery. This Othering, this weitko disease, is perhaps best symptomatized in its simplest stratagem, in that of our silenced remakening:
They are dirty, They are unsuited for life, They are unable, They are incapable, They are disposable, They are non-believers, They are unworthy, They are made to benefit us, They hate our freedom, They are undocumented, They are queer, They are black, They are Indigenous, They are less than, They are against us, until finally, They are no more.
In this constant mantra of violence reframed, it's either You or it's Them.
It is the Other who is sacrificed for an immortal and cancerous continuity. It is the Other who is poisoned, who is bombed, who is left quietly beneath the rubble.
This way of unbeing, which has infected all aspects of our lives, which is responsible for the annihilation of entire species, the toxification of oceans, air and earth, the clear-cutting and burning of whole forests, mass incarceration, the technological possibility of world ending warfare, and raising the temperatures on a global scale, this is the deadly politics of capitalism, it's pandemic.
An ending that has come before.
The physical, mental, emotional, and spiritual invasion of our lands, bodies, and minds to settle and to exploit, is colonialism. Ships sailed on poisoned winds and bloodied tides across oceans pushed with a shallow breath and impulse to bondage, millions upon millions of lives were quietly extinguished before they could name their enemy. 1492. 1918. 2020...

Biowarfare blankets, the slaughter of our relative the buffalo, the damming of lifegiving rivers, the scorching of untarnished earth, the forced marches, the treatied imprisonment, coercive education through abuse and violence.
The day to day post-war, post-genocide, trading post-colonial humiliation of our slow mass suicide on the altar of capitalism; work, income, pay rent, drink, fuck, breed, retire, die. It's on the roadside, it's on sale at Indian markets, serving drinks at the casino, restocking Bashas, it's nice Indians behind, you.

These are the gifts of infesting manifest destinies, this is that futured imaginary our captors would have us perpetuate and be a part. The merciless imposition of this dead world was driven by an idealized utopia as Charnel House, it was "for our own good" an act of "civilization."
Killing the "Indian"; killing our past and with it our future. "Saving the man"; imposing another past and with it another future.

These are the apocalyptic ideals of abusers, racists and hetero-patriarchs. The doctrinal blind faith of those who can only see life through a prism, a fractured kaleidoscope of an endless and total war.

Its an apocalyptic that colonizes our imaginations and destroys our past and future simultaneously. It is a struggle to dominate human meaning and all existence.
This is the futurism of the colonizer, the capitalist. It is at once every future ever stolen by the plunderer, the warmonger and the rapist.

This has always been about existence and non-existence. It is apocalypse, actualized. And with the only certainty being a deathly end, colonialism is a plague.

Our ancestors understood that this way of being could not be reasoned or negotiated with. That it could not be mitigated or redeemed. They understood that the apocalyptic only exists in absolutes.
Our ancestors dreamt against the end of the world.
Many worlds have gone before this one. Our traditional histories are tightly woven with the fabric of the birthing and ending of worlds. Through these cataclysms we have gained many lessons that have shaped who we are and how we are to be with one another. Our ways of being are informed through finding harmony through and from the destruction of worlds. The Elliptic. Birth. Death. Rebirth.

We have an unknowing of histories upon histories of the world that is part of us. It is the language of the cosmos, it speaks in prophecies long carved in the scars where our ancestors dreamed. It is the ghostdance, the seven fires, the birth of the White Buffalo, the seventh generation, it is the five suns, it is written in stone near Oraibi, and beyond. These prophecies are not just predictive, they have also been diagnostic and instructive.

We are the dreamers dreamt by our ancestors. We have traversed all time between the breaths of our dreams. We exist at once with our ancestors and unbirthed generations. Our future is held in our hands. It is our mutuality and interdependence. It is our relative. It is in the creases of our memories, folded gently by our ancestors. It is our collective Dreamtime, and it is Now. Then. Tomorrow. Yesterday.

The anti-colonial imagination isn't a subjective reaction to colonial futurisms, it is anti-settler future. Our life cycles are not linear, our future exists without time. It is a dream, uncolonized.
This is the Indigenous anti-future.
We are not concerned with how our enemies name their dead world or how they recognize or acknowledge us or these lands. We are not concerned with re-working their ways of managing control or honoring their dead agreements or treaties. They will not be compelled to end the destruction that their world is predicated upon. We do not plead with them to end global warming, as it is the conclusion of their apocalyptic imperative and their life is built upon the death of Mother Earth. We bury the right wing and the left wing together in the earth they are so hungry to consume. The conclusion of the ideological war of colonial politics is that Indigenous Peoples always lose, unless we lose ourselves. Capitalists and colonizers will not lead us out of their dead futures.
Apocalyptic idealization is a self fulfilling prophecy. It is the linear world ending from within. Apocalyptic logic exists within a spiritual, mental, and emotional dead zone that also cannibalizes itself. It is the dead risen to consume all life.

Our world lives when their world ceases to exist.

As Indigenous anti-futurists, we are the consequence of the history of the colonizer's future. We are the consequence of their war against Mother Earth. We will not allow the specter of the colonizer, the ghosts of the past to haunt the ruins of this world. We are the actualization of our prophecies.
This is the re-emergence of the world of cycles.
This is our ceremony.
Between silent skies. The world breathes again and the fever subsides.
The land is quiet. Waiting for us to listen.

When there are less distractions, we go to the place where our ancestors emerged.

And their/our voice.

There is a song older than worlds here, it heals deeper then the colonizer's blade could ever cut.

And there, our voice. We were always healers. This is the first medicine.

Colonialism is a plague, capitalism is pandemic.
These systems are anti-life, they will not be compelled to cure themselves.
We will not allow these corrupted sickened systems to recuperate.
We will spread.
We are the antibodies.
+ + + +

Addendum: In our past/your future it was the unsystematic non-linear attacks on vulnerable critical infrastructure such as gas utilities, transportation corridors, power supplies, communications systems, and more, that made settler colonialism an impossibility on these lands.

Our organizing was cellular, it required no formal movements.

Ceremony was/is our liberation, our liberation was/is ceremony.

We honored our sacred teachings, our ancestors and coming generations.

We took credit for nothing. We issued no communiqués. Our actions were our propaganda.

We celebrated the death of leftist solidarity and it's myopic apocalyptic romanticism.

We demanded nothing from capitalists/colonizers.

- + + + + -

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Rethinking the Apocalypse: An Indigenous Anti-Futurist Manifesto

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This is a transmission from a future that will not happen. From a people who do not exist... Rethinking the Apocalypse: An Indigenous Anti-Futurist Manifesto Readable PDF: rethinking the apocalypse-read Printable zine PDF: rethinking the apocalypse-PRINT "The end is near. Or has it come and gon

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idea: use a phrase i like in repetition to make a video / collage / painting.

Do you want to give up the taste of cherries? (From A Taste of Cherry by Kiarostami)

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CS LECTURE: CAN THE SPIRAL MAKE THE WORLD OTHERWISE?

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CS LECTURE: CAN THE SPIRAL MAKE THE WORLD OTHERWISE?

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use empty streets to do something
what better set than an empty world?

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his works are about inaction vs action

some deeply personal despite no strict narrative

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Bas Jan Ader had reproduced his work to give them a different sense of purpose- I'm Too Sad To Tell You was turned into a postcard and film and photographic work

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This is It
and I am It
and You are It
and so is That
and He is It
and She is It
and It is It
and That is That

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This is It
and I am It
and You are It
and so is That
and He is It
and She is It
and It is It
and That is That

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Alan Watts comes to mind. A philosopher that focused on the self.
As well as language and the social conditioning it creates.

“We seldom realize, for example that our most private thoughts and emotions are not actually our own. For we think in terms of languages and images which we did not invent, but which were given to us by our society.”
― Alan Watts

"For when you see that the universe cannot be distinguished from how you act upon it, there is neither fate nor free will, self nor other. There is simply one all-inclusive Happening, in which your personal sensation of being alive occurs in just the same way as the river flowing and the stars shining far out in space. There is no question of submitting or accepting or going with it, for what happens in and as you is no different from what happens as it."

The Individual is the universe?

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abstract paintings using only the fundamentals, colour, line, and form.

some performance art tends to be the same, focuses on simply actions and a more reductionist approach. like bas jan ader.

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fall down & down &down. (BasJanAder - Fall 1)

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I'm Too Sad To Tell You - 1971  Bas Jan Ader

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I'm Too Sad To Tell You - 1971  Bas Jan Ader

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Bas Van Jader - Studies on the Road to a new neo-plasticism 1971

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Bas Van Jader - Studies on the Road to a new neo-plasticism 1971

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neo plasticism- creating art through two extremes. the universal and the individual

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the physicality of the performer is important

the idea of the screen as object, spaces, an experience

sound- offset sound, how can this be suggestive to the viewer?

when does repetition become funny, create tension or become tragic?

you can look at the potential of material and its history

actions may go in and out of sync.

the duration of the video may be determined by the duration of the action

the body may be a tool

how do you suggest something is happening beyond the frame? (offset sound)

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future ideas:

turn these into abstract collages,
or short videos, the only consistency being the repetition or alignement of the subject (i.e umbrella)

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tried aligning an umbrella across three different cctv feeds.

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iranian performance artist and critic.

references: http://www.reorientmag.com/2015/06/performance-art-iran/

https://issuu.com/ali-ettehad

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In this elaborate exercise nothing happens. Something about just 'being' and not thinking. Everyday of the performance is different, with different actions being taken.

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He's made everyday documentation artificial. The sound is delayed- it appears as if he is giving directions to the people in the video, i.e turn to the left, however is he simply describing what happens BEFORE it happens. Really interesting how sound in incorporated into art. He describes things happening that may not be within the frame of sight. Fabricating reality almost?

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still images can also be part of performance art. 

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still images can also be part of performance art. 

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absurdity can fill the frame

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orgasm addict album cover by linder sterling 

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orgasm addict album cover by linder sterling 

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From the artists I've seen performance art tends to take a more reductionist approach compared to other methods.
I'm particularly interested in writing- looking at J.J Austins 'How to Do things with Words', and 'Do It' Hans Ulrich Obrist.

How do words affect actions? Rist's video is all about the phrase she uses, and the length of the video is somewhat determined by this. Can we say the frame may be defined by words in some scenarios? Sometimes the title may be all you need.

Interested in using phrases, words, lines, poetry as 'prompts' . How can words become an activating agent ?

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repetition of words may make them meaningless or draw attention to them. in this case, it does both.
the lines are from a Beatles song- seems to push pops repetitive methods as well as serve as homage to the song.

despite performance art meaning to stray from the painterly approach (at least initially) Rists editing is almost painterly. it is simple yet obsessive.

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Im Not The Girl Who Misses Much - Pipilotti Rist

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Im Not The Girl Who Misses Much - Pipilotti Rist

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Pipilotti Rist - I'm Not The Girl Who Misses Much

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a way of engaging with social realities-
physical movement and impermanence over a static, painterly approach.

Jonah Westerman: ‘performance is not (and never was) a medium, not something that an artwork can be but rather a set of questions and concerns about how art relates to people and the wider social world’

How does the boundaries of the frame affect performance art? Are boundaries to contain or else?
Performance art breaks the fourth wall.