Graphical representation of rotation and translation of note configurations.
Maurice Kagel :: ‘Translation – Rotation’, Die Reihe-7, 1960
(Source: notationnotes, via visicert)
Speculations (On Nature)
A roundtable on the natural world in art and literature
155 Freeman Street, Brooklyn, NY
November 23, 2013
Please join usfor Speculations (On Nature), the second of two roundtables on climate change and the future, as part of Marfa Dialogues/New York. Following on our summer project at MoMA PS1, Speculations (“The future is ________”), and as part of our upcoming Speculations issue, Triple Canopy is inviting writers, scholars, and artists to discuss pressing issues around climate-change adaptation and mitigation, surveying a range of viewpoints on ecology and nature. The first roundtable, Speculations (On Climate), took place on Saturday, October 26.
Speculations (On Nature) will consider the conflicting ways we conceive of the natural world, and how nature informs our understanding of anthropogenic climate change. How should we adjust our idea of nature to include human influence? How might art and literature portray a new image of nature—one that contends with the frailty of the human species and its possible extinction—and imagine ecological projects for the future?
Participants include Claire Colebrook, Brenda Iijima, Yates McKee, and Sukhdev Sandhu.
Faced with decades of content-based cultural criticism that implicitly, at least, adheres to Marx’s formula that the aim of philosophy is not to represent the world, but rather to change it, it is peculiar that such theory doesn’t seem to recognize that such cultural critiques seem to be fairly unsuccessful in producing their desired change. Here one would think that social and political theorists would become aware that this absence of change suggests that perhaps meanings, signifiers, signs, narratives, and discourses are not the entire story. One would think that in addition to these semiotic actors that play a role in collectives of humans and nonhumans, greater attention would be directed at the role of nonhuman actors in human collectives and the role they play in constraining the possibilities of existence. Such an attentiveness to these nonhuman actors would provide us with the resources for thinking strategies of composition that might push collectives into new basins of attraction. Whether or not a village has a well, a city has roads that provide access to other cities, and whether people have alternative forms of occupation and transportation can play a dramatic role in the form collectives take. However, in much of contemporary cultural theory, these sorts of actors are almost entirely invisible because the marked space of theory revolves around the semiotic, placing nonhuman actors in the unmarked space of thought and social engagement. —
Levi Bryant, The Democracy of Objects
Coming soon: an issue of Triple Canopy dedicated to objects and objecthood in the digital age.
For other geometric overlays see Erin Sheriff’s "Shadow, Glare," published in Triple Canopy Issue 9.
(Source: circlecircle, via autosafari)
A multilayered dance party with distractions
Four 81, 481 Broadway, 4th floor
November 21, 2013
9:00 p.m. , $5
Join us tonight for Bloopers #0: A Multilayered Dance Party with Distractions, the debut of a new performance-based collaboration by Michael Bell-Smith, Sara Magenheimer, and Ben Vida.
As the band Bloopers, they use dance-pop music as a platform to explore the ways in which sound and music operate socially. Their work incorporates videos, props, set pieces, and promotional materials, playfully testing the boundaries of different areas of contemporary culture. Invoking Nam June Paik’s “Global Groove” and Robert Ashley’s “Perfect Lives” through the lens of Internet radio, Bloopers #0 is a multilayered dance party with distractions.
Bloopers #0 was commissioned and is presented by Triple Canopy as part of Performa 13, and is hosted at Four81 (481 Broadway, Floor 4) by Jack Chiles and Mila Giesler.
Triple Canopy is pleased to announce Common Practice New York, a recently formed advocacy group that fosters research and discussions on the role of small-scale arts institutions in New York City.
Founded over the course of several meetings beginning in 2012, Common Practice New York aims to collectively examine how small-scale New York arts institutions are perceived and evaluated by audiences, artists and funders alike; to identify the challenges of operating in today’s climate and revive discussions of those obstacles and inequalities which have persisted since the rise of the alternative space. In doing so, Common Practice New York aims to develop new knowledge and further a discourse on ethical positions for the presentation of art and ideas in the twenty-first century.
The first Common Practice New York initiative includes a series of three invitational roundtables on contemporary institutional practice organized in collaboration with students and faculty from the Center for Curatorial Studies at Bard College (CCS Bard) in fall 2013; a public conference developed in response to these seminars in spring 2014; and a forthcoming publication that will include transcripts from these events alongside additional contextual and artistic contributions.
The founding members of Common Practice New York are Artists Space, The Kitchen, Light Industry, Participant Inc, Printed Matter, Triple Canopy, and White Columns.
To learn more about Common Practice New York and sign up for the mailing list, please visit www.commonpracticeny.org
Preliminary Materials for a Theory of the Young-GIRLS by Travis Stearns
See also: "Preliminary Materials for a Theory of the Young-Girl," by Tiqqun, excerpted and translated with an introduction by Ariana Reines.
Come join us at 155 Freeman tonight, Saturday, October 12, for “Forget Yourself Inside Me Like I Am a Vacuum and You Are the Sea,” a performance by choreographer and performance artist Rebecca Patek. In “Forget yourself…,” Patek addresses the notion of role-playing, skillfully mining and inverting the power dynamics of interviewer and interviewee, performer and audience. With a deadpan candor, Patek parodies the hackneyed language and tired postures of the artist’s talk and artist’s statement while creating unsettling situations in which the language and actions of spectatorship, art-making, sexual violence, and interrogation assume one another’s contours.
For more information, see the program description on the Triple Canopy website.
Photo courtesy of Rebecca Patek.