Welcome. I invite you to dive in on your own terms. There’s nothing to “get” here beyond what you take away. You’ll find interdisciplinary art, including a home-based community performance called FED and a global photography and social media project called Imaginary Friends & Family, plus poetry, nonfiction, conversations, and workshops. I invite you to play, to adapt and make what you find here your own, to make your own. Make the traversal from work to text. I demarcate this playground “a word-art-sound thing.”
a word-art-sound thing emerges from outliers and outlier perspectives.
…an outlier is an observation point that is distant from other observations.
Aural outliers often raise the question and catalyze the experiment. They flip a switch that activates all seven senses–the usual five plus 6th/intuition and kinesthetic–which in turn activate the brain.
Being governed, at least initially, by sound requires movement. Some sounds, and repeated sounds can be, or become, unbearable, whereas fresh soundscapes create space, context, and capacity.
a word-art-sound thing is allegiant to the question and the experiment that arises from it. It manifests via materials dictated by the progression of the experiment.
Usually the progression begins with text. Often the text must be translated across media through visual art and performance because the experiment requires it. Increasingly, the experiment is captured digitally.
word-art-sound things include: FED, Imaginary Friends & Family Project, Performing Warsaw, and American (post). An Elegy: Fine Things, Flip-side(s) & Transformation catalyzed the trajectory. “Exile” resulted from a collision between American (post) and Performing Warsaw:
I’ve been on a theoretical jag for the past few years that has as its premise the possibility of/for arts to catalyze conscious and democratic participation. What follows generally begins and ends in ethnography. In between, i/we traverse a spectrum of media from experience to text to 2D/3D/4D visual art to performance. My formal training as anthropologist, filmmaker, poet/writer, and literary scholar positions me to draw from all, but does not require me to adhere closely to any. This freedom tends to result in an interdisciplinary approach that is highly theoretical and intellectualized for me, but it can be offered to others on whatever terms they wish to receive it, including “not at all.” I’m most interested in the Text that results from this process of offering-reception-action, though the work stands alone as a discrete and achieved element of the Text.