The iPod, Education and Community

To see the iPod as an agent of isolation rather than a symptom of, or a clever adaptation to, that isolation is to confuse cause and effect.

Kevin J. H. Dettmar
from Earbuds and Mosh Pits

shufflegirlBack in 2004, I wrote a rather rambling, free-form article about the role of the iPod in the promotion of social isolation ( available here: iPod Isolation ). I haphazardly thought out-loud about the power of the iPod to augment reality in an empowering way versus its traditionally conceived role in narrowing one’s reality in a socially awkward way.

Similarly, a new article in The Chronicle of Higher Education by Southern Illinois University at Carbondale professor Kevin J.H. Dettmar, entitled Earbuds and Mosh Pits, questions the role that iPod technology plays in promoting and/or suffocating social interaction and community building.

Mr. Dettmar’s experience speaks more directly to the community of music in particular and it’s relation to the iPod – rather than the larger community in general – and he presents an uplifting case from experience that the spirit of sharing (not just swapping tunes online) is alive and well despite our increasing musical isolationism.

Although the article overall was an enjoyable read, he does conclude with the following:

When I was in college, I heard almost all of my music on stereos in friends’ dorm rooms and apartments. Few of my students today have that luxury; they simply don’t have the time. I saw a doctoral student of mine recently at a Wilco show, down in the mosh pit, dancing. It changed my view of him entirely. It made me realize that we transform our students from people into scholars — a process of real narrowing — only at significant personal cost to them. So maybe we professors can change our perspective somewhat and see in those white iPod earbuds a symbol not of willful retreat, but of community deferred.

Is he here suggesting that demands upon students’ time are so great as to force them into deferring community and the experience of taking part in communal activities? And do I read him correctly and see the suggestion that the process of becoming a scholar is one that devalues community and promotes isolation? What exactly does he mean by “narrowing”?

He seems to imply (see opening quote) that students today are experiencing a greater isolationism than in the past and that the use of the iPod is a generational attempt to reclaim a sense of self – no, to maintain a sense of self – in a world that is continually narrowing and raping us of our community.

Moreover, he goes on to imply that our education today can be directly implicated in that “narrowing”. But I ask, is education today so different than it was in yesteryear? Do today’s students really have greater demands placed upon them than students of previous generations? I don’t know that they do, and in fact would suggest that despite the cutbacks in financial aid (cited by Mr. Dettmar) and the need to work full-time jobs, today’s students face an abundance of luxury and leisure not available to most students in the past.

If students today are deferring community it is by choice, perhaps because it’s easier to put those white earbuds in and drop out of the world than it is to invest oneself in genuine human interaction. By putting the headphones on, students are declaring that they have no obligation to the world in which they live – don’t mind me, I’m not here – and are refusing to take responsibility for building the necessary social skills required to live and work in an increasingly diverse world. It’s not that the technology is destroying a communal sense or common ground, but rather, by exiting the world of community and losing ourselves in our iPods, we are negating the chance of discovering the common ground that we do share.

Don’t get me wrong, I love my iPod too. But as with most things in life, the key is moderation (and yes, I’m a bad example of moderation myself). When the majority are shifting to the extremes of social isolation – be it by choice or not – then we will be facing a truly revolutionary change in the structure of society and community.

How do we get students to turn off their iPods and begin sharing in a communal setting? Perhaps the solution is simple. Maybe they just need more keg parties.

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Chronicle of Higher Education, college, community, earbuds, education, financial aid, headphones, iPod, isolation, mosh pits, music, music festivals, music sharing

Mind Reading as Social Commentary

routinesetupMost artist statements are bunk. With a few stellar and authentic exceptions, the art world seems awash with inauthentic pretentiousness, poppycock and piffle when it comes to artists’ statements of their own work.

Though many would argue the point and counterpoint to their grave (and do, and do, and do and do…), I think that it’s hard to disagree with a statement like Matt Linderman’s over on Signal vs. Noise (original post here):

The thriving art scene here in NYC has exposed me to a lot more art shows than I ever experienced before in my life. And I’ve gotta say, the art statements that I read generally make me a bit nauseous. Sure, they can sometimes be helpful. But all too often they have that grad-student-thesis-feel, full of impressive-sounding words and pretentious ideas but somehow there’s no there there.

Somehow, there’s no there there. They tend to lack a certain, ahem, je ne sais quoi.

Video Stills from Sketches
from Private Thoughts and Other Lies
written and performed by Roderick Russell
listen to voiceover extract

Utilizing my training as a mentalist and mind reader, this routine is a satirical look at the contrived pretentiousness of the modern art world, specifically in regards to the artist statement.

puttingonglasses

blurringpainting

contemplatingpainting

swish

lookingfromafar

thankingspec

A member of the audience is invited to privately concoct a visual image of their own design and to imagine it vividly, never revealing the thought-of image to anyone.

Meanwhile, I don a paint spattered coverall and thick black glasses in caricature of the modern visual artist at work in his studio.

A voiceover track continues the caricature with an ego-indulgent, self-reflexive interview by Roderick Russell The Critic with Roderick Russell The Artiste. On-stage I begin actively painting in a highly affected manner, on a canvas facing away from the audience.

Painting and playacting continue throughout until the conclusion of the voiceover track, whereupon the audience member enlisted at the beginning of the routine is invited up and asked to verbally describe the image that he or she has been privately envisioning.

Following the detailed description of the image that has merely been thought of, I reveal the freshly painted canvas to the audience and upon it is an image that perfectly matches the description just given.

All that to say that when the Flynn Center for the Performing Arts awarded me an arts grant and I suddenly found myself charged with the task of fusing my performance techniques together with my social criticisms, I used my many hours spent slogging through the Chelsea galleries as inspiration.

Until now, the routine born of that inspiration – Sketches - has remained an exclusive piece known only to those who have participated in one of my live shows. No audio, video or still pictures have been released, save for the very few video stills available on the Private Thoughts and Other Lies website and the passing references made in printed material such as the show’s own accompanying statement, press releases and several media interviews.

As this material will not be featured in the stage show within the immediate foreseeable future – a shift in market concentration and resultant modifications to the routine having rendering it entirely different in theme – I am here sharing with you a wider selection of video stills as well as the audio from the voiceover portion of the routine – the voiceover being that around which the work revolves.

I have spent a great deal of time with artists of all mediums, mingling with the haute monde, the cognoscenti, of the art scene. At innumerable openings I’ve stood staring at wall after wall of paintings, prints and photographs, navigating static installations and experiencing interactive, multimedia exhibits of “fine” art . Some of these shows have been positively profound, deeply moving and enormously inspirational. A small handful of the statements have been truly impeccable. But one cannot contest that the majority of statements are written in a decidedly contrived fashion, with an eye towards sprinkling in as many metaphorical hooks, ten cent words and obscure references as possible – all in an attempt to imbue import.

Having invested so many candid hours with artists and creators, I know that the truth of their work is often more in keeping with Jörg Colberg’s reflection on fine-art photography:

It’s interesting (and a bit sad) that when you look at what is commonly called fine-art photography it always comes with a statement, which typically contains some sort of explanation or motivation for the photography. You never get to see something like “I just wanted to take some beautiful photos” or “I liked the way those rubble piles looked, so I took a bunch of photos.” I wonder why. I have no way of actually proving this, but I am convinced that many photographers do not have all that stuff from their statements in their heads and then go out to shoot the photography…I personally find it perfectly understandable and acceptable if somebody does not want to write a statement. But that’s not how the art world works.

Sketches represents my response to the pretension and aims to be critical while also remaining farcical, self-deprecating and, in the end, downright entertaining*.

No archive video of this routine will ever be posted (not authorized copies, at least). Please enjoy the stills and the voiceover – and if you do, watch for your chance to see it live. While it has been replaced for the time being, one never knows where it will pop up again.

Perhaps the Guggenheim would be interested…
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*On a humorous note, a group of colleagues attended the premiere of Private Thoughts and Other Lies. When asked for his opinion, one member of this clique spoke out strongly against Sketches.
His name: Art

I can’t make this stuff up.

Art, Art Galleries, Art World, Artist Grants, Artist Statement, Chelsea, Culture Jamming, Flynn Center, Mentalism, Mind Reader, Mind Reading, NYC, Painters, psychics, Psychological Illusion, Roderick Russell, Sculptors, Social Commentary, Sword Swallower, Theater, Transhumanist Art, performance art

THOTH : The Power of Performance

Students have left school, employees are taking vacation and the cities are filling up with tourists from all over. Now that the warmer months are here I’m republishing my earlier article on Thoth and NYC entertainment – a gentle reminder to get off your arse and see something interesting. Enjoy!

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Thoth, Photographed by John Freeman
photo © 2002, John Freeman
used with permission

Being a traveling artist myself, I have the opportunity to see many remarkable – and many more less-than-remarkable – performances in cities throughout the world. New York City, of course, presents a profoundly high incidence of these works of public and private art, being the cultural center that it is.

Street performance is one particularly colorful and active scene in NYC, and though I would be hard pressed to draw a comparison between the juggler on the corner and Andras Schiff at Carnegie Hall (unless that juggler is Michael Moschen), I do delight in some uniquely fun, witty and original shows – and I’m happy to show my support.

In the spring of 2002, however, I was stunned into silence and awe at the true power of street theater when I happened upon, by sheer chance, a performance by Thoth in the tunnel at Bethesda Terrace in Central Park, directly across from the Bethesda – or “Angel” – Fountain.

I’m hesitant to describe what I saw for fear of destroying the magic for other first-time viewers. But what I witnessed – nay, experienced – in the tunnel that day stopped me in my tracks and frankly, despite frantically wondering what in the hell was happening, moved me to tears – quite literally. I didn’t know what I was watching, nor did I know what it could possibly mean, but I did know that it was beautiful, soul-stirring and transporting. Mesmerizing in the truest sense of the term. This, I believe, is part of the power of Thoth’s work.

Marjoe DVDSo powerful is this street artist’s work that it caught the attention of documentary film director Sarah Kernochan – the same director that in 1972 won the Academy Award for Best Documentary with her film Marjoe – and the film that emerged from their collaboration won the 2002 Academy Award for Best Documentary Short Subject! (Coincidentally, I have a particular interest in the work of Marjoe Gortner as well. Imagine my surprise when I discovered the connection! How convenient that these two films are bundled together…)

Thoth Documentary

The documentary is truly remarkable and, though I recommend it highly, do yourself a favor – order the DVD now, put it on a shelf and immediately get on a bus, plane, car or subway to the Angel Tunnel in NYC’s Central Park to witness a performance for yourself. I’ve intentionally been slim on the performance details, and until you see this remarkable performer in action, live and up-close, the DVD, website or any description that anyone may offer will not do him justice.

But do order the DVD now, because when you get home, the first thing you’ll want to do is put it in the player.
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ADDENDUM
Lest the reader feel that my adamant demand to see Thoth in person is a bit “over-the-top”, please know that despite an excruciatingly demanding schedule – and even one unfortunate stuffed-mushroom-caps-and-digestive-problem incident (no, I won’t blog about that) – I make it a point to travel to see him live as often as I can, and have been doing so regularly since my first encounter in 2002. He really is that good.

——————-
b&w photo credits go to John Freeman from his 2002 series NYC Bounces Back, available on his website at:
http://www.jou.ufl.edu/people/faculty/jfreeman/freeman.htm


RESOURCES
Thoth’s Website – Don’t read too much, you need to see him live first!
Thoth & Marjoe Documentary
Sarah Kernochan Website

Angel Fountain, Bethesda Terrace, Documentary, New York City, Sarah Kernochan, Street Performance, Thoth

The Beauty of Silicone
Greg Kennedy, Bounce Juggling and Innovation

I met this gentleman a few years back in Baltimore and was intrigued with his setup – which involved a large, clear hemisphere – and his work with silicone balls. By sheer happenstance I came across a YouTube video of his and that was all it took to push me over the edge to share his work with you here.

Greg Kennedy is a two-time Gold Medal-winning IJA juggler with a particular interest in working with surfaces. From his website:

In an effort to redefine people’s preconceptions about juggling, Greg Kennedy fuses logic and creativity to synthesize new forms of juggling manipulation. In the early 1990′s, Greg spent several years working as a professional engineer, in addition to his juggling career. His fascination with the geometry and physics of object manipulation lead him to ground-breaking work with original apparatus, expanding the realm of juggling. “He is a visionary who can see the possibilities in props and movement that are obscure to the masses,” writes Bill Giduz, Jugglers World magazine.

Clearly building upon the bounce juggling innovations of Michael Moschen from the 1980’s, Kennedy has subsumed and expanded upon those early building blocks to create dynamic routines that utilize unorthodox surfaces.

Whereas Moschen blazed the trail with his triangle, Kennedy combines his juggling and engineering prowess to give us hemispheres, circles and – my favorite – cones.

While some of his ideas – by their very nature – seem to emphasize the props, his best work has created a stunning balance between simplicity and visual beauty, allowing the motion of the balls to speak for themselves. Of course, the balls wouldn’t achieve the level of stunning beauty that they do were it not for Kennedy himself as facilitator, and towards that end he rightly blends a perfectly understated sense of movement and pose into his routines. Movement is essential and most of his routines would not achieve the sense of balance and visual appeal that they do were it not for Kennedy’s certainty of movement, restraint and placement – yet he is able to achieve it all without calling undue dramatic (that is, overplayed or unwarranted) attention to himself.

The above included cone juggling video – wherein Kennedy juggles up to 7 balls – is not a performance clip, but it nevertheless gives the viewer a glimpse into his work – and for someone who loves bounce juggling (like me and Cliff) it looks like a hell of a lot of fun. The second video is a performance clip from his 1997 IJA performance of Orthogonal.

Read more about Greg Kennedy on his website ( www.innovativejuggler.com ) and by watching the rest of his videos – available on his YouTube page.

bounce juggling, contact juggling, Greg Kennedy, IJA, Innovative Juggler, juggling, Michael Moschen, silicone, silicone balls, YouTube, YouTube Videos

Performance Artist Stelarc Implants Ear

Stelarc with Implanted EarSince the 60’s, Australian performance artist Stelarc has been publicly exploring the boundaries of the human body and human experience while simultaneously investigating means by which to extend and transform it. His latest exploration involves the implantation of an organic ear on his forearm.

Much has been written in the blogosphere about the ear implantation and the soon-to-be realized modifications of Bluetooth integration and subsequent ‘net broadcasting of heard sounds, with many writers questioning – through posts and comments – the utility of the ear, placement of the ear and choice of technology. As interesting as those particular “innovations” may be, however, they are secondary to the thread of significance that has connected all of Stelarc’s work from the beginning.

Utilizing both primitive as well as sophisticated technologies, from flesh suspension to ingested/implanted stomach sculpture, third arms, exoskeletons and user controlled remote muscle stimulation, Stelarc calls our attention back to the role of the body in the creation of our world view – and consistently shows us how flexible and extendable it truly is. Particularly in our highly connected information age, Stelarc suggests that “the body is biologically inadequate” and he presents to us the possibilities of how “electronic space becomes a medium of action rather than information”, thereby extending the preconceptions of even the latest technologies – preconceptions that are, again, rooted in our sense of physiological self.

Stelarc’s work will always be subject to the latest technologies and his critics will undoubtedly forever lob their attacks at the seemingly freakish way in which he explores the human sense of self through cyborg-like enhancements, but his questions remain timeless. Through his own modern lens of artistic exploration, Stelarc brings to the fore the perennial questions of the human condition, encourages us to explore them and, most importantly, shows us that we can reconsider and extend them in radical ways. His work is a powerful reminder that man is fundamentally characterized by possibility and freedom – and that we need only change our minds to change our world.

Australia, Bluetooth, Body Mod, Cyborg, existentialism, flesh hooks, freaks, Implants, metaphysics, ontology, Performance Art, philosophy, Posthumanism, sculpture, Stelarc, suspension, Transhumanism

Bill Bailey’s Brilliant Kraftwerk Tribute

In late 2003 and 2004, comedian Bill Bailey toured a show entitled Part Troll, which featured a good deal of his brilliant musical humour. Among the gems of musical mash-up, satire and spoof was one piece in particular – an encore actually – which deserves mention here (they all deserve mention, actually). It is a tribute to the groundbreaking German electronic group Kraftwerk.

Of course, the clip is best if you watch the entirety of Bill’s show and – if you are not familiar with him – get to know him as a person, but it stands on its own quite well too.

I’m not going to give away the punch line, but after you watch the video, visit this site to read about how David Bamber (who passed away this week) of the Telegraph thinks that the original of this tune is a parody of the Catholic Church’s Latin Mass.

Stay tuned for more wonderful British comedy posts.

VIEWING NOTE: The YouTube version of this clip is lower quality than the Daily Motion copy. If you wish to see this in higher quality (it’s worth it) either 1.) watch the entire show on DVD or 2.) visit the Daily Motion page for the clip and fast forward to the spot where you see Bill come back on stage in a black suit.

Bill Bailey, British comedy, David Bamber, electronic music, German, German music, Kraftwerk, Latin Mass, Music, Musical comedy, Part Troll, stand-up, stand-up comedy, Telegraph, theater

Internet Surveillance : Celebrate Security!

bigbrotherMonday, May 14th marks the deadline for all Internet providers – from dial-up to DSL, broadband and satellite providers – to be equipped with back-door surveillance technology allowing law enforcement agencies to more easily monitor and eavesdrop on all Internet communications.

An extension of 1994′s Communications Assistance for Law Enforcement Act (CALEA), which applies to voice communications, the new “enhancement” and widening of scope is the result of a petition filed by the Department of Justice and the FBI and will allow law enforcement agencies (and as Boing Boing pointed out, criminals and corporate spies as well) access to all ‘net-based communications including “e-mail, instant messaging records, web-browsing information and other information sent or received through a user’s broadband connection, including on-line banking activity.”

Some universities will also be required to install these back-door access points, which promise to give law enforcement agencies with court approval access to data in less than a day. Just how long will it take to for illegal wiretaps?

Not only does this issue raise surveillance state concerns and fuel the ongoing (and growing) fear of illegal wiretaps and monitoring, but the integration of back-door access to our private data into the very infrastructure of our communications networks creates a justified fear of hacker access to the private data of the nation, be it sensitive or not.
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CALEA, Communications Assistance for Law Enforcement Act, data, FBI, FCC, internet, intrusion, ISP, privacy, private data, surveillance state, wiretapping, illegal wiretaps, eavesdropping, big brother

Uncommon Grounds Coffee & Tea
Burlington, VT

Located on the main pedestrian thoroughfare in coffee-centric Burlington, VT, Uncommon Grounds offers some of the best and most fresh coffee in town.

With a very wide selection of beans from most of the coffee growing countries stored right in their burlap bags in bulk in the store, they regularly roast in-house to assure the freshest cup. For people who like to watch the roasting action, the roaster is located immediately inside the entrance (don’t touch!) and roasting occurs in the late-afternoon to evening hours, filling the store (and street) with the pleasant smell of fresh coffee.

They offer each day, in addition to a moderately dark house roast, four or five brewed selections from their wide array of beans. Usually comprised of a daily roast, a decaf and a flavored caffeinated and decaf coffee, each different. For those that can’t decide between a cup of the house or the daily roast, they display in large print a detailed description of the day’s roast, from body and acidity to more creatively descriptive elements that you’d fine in finer reviews.

Also offered are a variety of teas (all loose leaf), cocoas, desserts and pastries; from bagels to cookies, cakes, croissants and tortes.

Despite the quality of the product, there is nothing “uncommon” about the atmosphere, which is unfortunate for this reviewer, as I love not just coffee but the experience of the cafe environment as well. Certainly very clean and classy, and displaying works of local artists continuously, there is nothing really very unique about this one. The tables are average-sized and glass topped, with two or four small wood-backed chairs per table. Each exactly alike, while not uncomfortable, they certainly don’t encourage lingering for hours (though this reviewer has).

There is a selection of window counter seats that afford a relaxing view of Church St., the busy shopping center of town. During the summer outdoor seating is offered, but unless you are enjoying your beverage during the early or late hours when the sun is blocked by buildings, there is absolutely no shade to be had at all.

Wireless Internet access is offered by an outside company called Soundtivity, which supplies the entire downtown Burlington area with wireless coverage. Fees are better than some national carriers such as T-Mobile, but they are still fees. Access is limited to the window seats (about ten to twelve seats) and the first two or three tables before the signal drops off to an unusable level. Naturally, the outside seats are covered well.

The staff is very friendly, prices are average, quality is superb and, though I wouldn’t call it remarkable or unique, the atmosphere is certainly clean, pleasant and of high caliber. Though some cafes in Burlington score higher on other elements, the quality of coffee alone is enough to keep me coming back.

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UPDATE: About that wireless access… This review was written several years ago when Soundtivity was just an upstart. Problems with the service at that time where constant and bothersome and I haven’t any idea if access can be had now at Uncommon Grounds.
burlington, cafe, church street, church street marketplace, coffee, coffee beans, coffee roasting, downtown, food, fresh coffee, pastries, pedestrian mall, tea, uncommon grounds, vt

Digg Gets Buried on Noumenon

My good friend Cliff over at spiralbound.net – who suddenly finds himself the center of two of my most recent posts – posted a great little critique of the Digg.com service today which I took to heart.

He cites the following three problems with Digg.com:

1) Digg is censorship:
The way Digg figures out which story to promote to the front page is not based as much on how many people have “Dugg” it as it is on which particular user “Dugg” the story to begin with.

2) Digg users are nasty:
When a story gets “Dugg” users have the ability to comment on it. Not only are these comments usually of little to no actual value, but they are often cruel and nasty as well.

3) Digg readers generate traffic that is of minimal use to web publishers:
Having a story show up on the front page of Digg can generate an amazing amount of traffic to the author’s website. As a rule, this is a wonderful thing for any web publisher, but not so with Digg. The reason for this has to do with the way many sites earn money. Web publishers often make use of advertising on their site such as Google’s Adsense or Yahoo’s YPN. These ad services present visitors with contextual ads that they can click on should one of them seem useful. Each time a visitor clicks on an ad, the owner of the website earns some money for the referral.

Digg users almost NEVER click on ads!

Cliff goes into more detail in his own post and even cites other sources while providing hard data examples from websites to which he has insider access. I post this cursory glance at the digg.com problems here only to accompany my announcement that I am no longer using digg.com on this website.

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