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 mixed media, including a home-based community performance called FED, plus poetry and nonfiction projects. I invite you to play with them, to make them your own, to make your own. I invite you to make the traversal from work to text. I demarcate this playground as “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. An outlier may be due to variability in the measurement or it may indicate experimental error; the latter are sometimes excluded from the data set.
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, Where Benches Play Chopin, and American (post). They began with An Elegy: Fine Things, Flip-side(s) & Transformation.
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 text to 2D/3D/4D visual art to performance. My formal training is as anthropologist, filmmaker, poet/writer, and literary scholar. The work draws from all, but adheres closely to none. Moreover, what is highly theoretical and intellectualized for me is offered to others on whatever terms they wish to receive it, including “not at all.” I’m far more interested in the Text that results from that process of offering-reception-action than I am in the work itself, though the work stands alone as a discrete and achieved element of the Text.