HELP US HELP YOU! SUPPORT EXIT STRATA's INDIEGOGO CAMPAIGN
Well, friends, we've gotten this far on the proverbial shoestring, but now we need your help! Will you help Exit Strata survive for the next year as we continue to grow? Please give what you can to our INDIEGOGO CAMPAIGN today, and
EDITORIAL / CALL :: Rhizomatic Intentcasting and Cocreative Support :: Live Broadcast with links, notes, minutes and intentions for modelling
I know I say I'm excited to share things with you all the time -- this is genuinely true, and makes me even more excited. It's exciting that there's so many things to get excited about. In creativity and collaboration, there is more foment and room for possibility at this very moment than I've ever experienced before. And like YES! magazine for the creative community, perhaps, we're here to share the good news, in order to help you actualize that ... and learn who else is doing so. We've been addressing the use of social technologies and publication more and more recently, it seems. And with good reason: every day new tools crop up that can be incredibly useful in the establishment and leveraging of "creative agency" that we are working to model here at Exit Strata. For the past few weeks, we've been featuring the Field Notes and field recordings of Kennedy Karate/Nightbus Radio, via which we introduced the community to Soundcloud's fellowship program... as well as, perhaps, to the possibilities inherent in that recording and distribution platform. Since then, I signed on to begin broadcasting live across social platforms using the Spreaker application, which allows users to automatically record, broadcast and disseminate audio content (and mix in various audio sources). In so doing, I immediate recognizes the possibilities for this platform as, essentially, another form of publication-as-self-valuation, for creative people of ALL types, not just people who define themselves as "musicians," or "sound" artists in any way. The immediacy of the medium makes it an incredibly powerful one, in so far as it allows for simulcast of thoughts, read material, or whatever the individual so chooses, which can be recorded virtually via any internet connection and/or mobile device. Of course, to be unintentional with this tool creates confusion and adds to noise - as does misuse of ANY tool or technology, from farming and fishing nets to AI. It's the intentionality and clarity of purpose that makes this most powerful: we can engage with it to create continuous documentation of process in a way that is incredibly human, due to the connective qualities of the VOICE. After signing up I began circulating both my new channel and inviting others to participate via integration with facebook and twitter, and others began to use it as well and invite others on board. There was an immediate ripple affect, which simultaneously inspired essential conversations about process value and transparency that I knew could be useful to the community as others make their way through this new, seemingly overwhelming, wilderness of potential. I want to comfort people in knowing that the learning curve is gentle. These are not complicated tools, but they do require some quiet approaching, like a skittish animal... or maybe YOU are the skittish animal! Be gentle, it's a new paradigm :) What we've done here is used another powerful tool, Google Hangout, broadcast live via YouTube integration, to record a dialogue around these tools and their possibilities in shifting both community and self in the way we approach creative work. Taylor Quilty, in Asheville, NC, and Lancelot Runge, in Philadelphia PA, both of whom have also begun podcasting through Spreaker this week, join me for the discussion. What you also see here are the notes we co-wrote while on the "hangout" through integration with google docs, and some basic minutes of where the conversation went, including links to relevant information. You'll also find mini embedded players for each of our Spreaker casts, as well as a drop box for the new Exit Strata group on Soundcloud, where we will begin to gather community sound content (anything goes!) for upcoming live dialogues and community curated podcasts. Truly - there is limitless potential here. COME PLAY. {broadcast live via google+ hangouts on air} Rhizomatic Notes / Minutes Tuesday September 18 2012 Lynne DeSilva-Johnson Lancelot Runge Taylor Quilty
FIELD NOTES : Jacob Perkins :: From the Cannery, Part 6 : Return of a Fast Food Drifter
On top of the Olympic Range I am skating over snowfields and looking through something I'd only impair to describe as 'fabric' at night. Deep nostalgic chest throbs: the mushroom chocolates were a good choice. There was supposed to be
on WORD :: REVIEW :: Peter Milne Greiner on Paige Lipari's 'Family of Many Enzos'
Peter Milne Greiner reviews Family of Many Enzos by Paige Lipari / Augury Books If the first planet from the sun is a hairy arm brandishing a serrated knife you have entered Paige Lipari’s known space. Family of Many Enzos, her first chapbook
FIELD NOTES :: No Instructions for Assembly :: Kameelah Rasheed's Photographic Memory
While an Artist in Residence at the Center for Photography at Woodstock this summer, I continued to work on the series Memories: No Instructions for Assembly. This series which has morphed into six evolving iterations - I, II, III, IV, V, and VI is born from my family's experience with displacement and loss. There is limited photographic evidence that my family ever existed. Photographs were lost when we were unlawfully removed from our home in 1998. Some photographs were water-damaged or accidentally trashed before we packed seven lives and accompanying articles into a burgundy station wagon and made our home in a 450-square foot illegal attachment where my grandfather died, alone, nine years prior of stomach cancer. An attempt to conjure my family back into existence, in Memories: No Instructions for Assembly, I weave together orphaned photographs found at garage sales, photos stolen from the Facebook pages of estranged family members, magazine pages, water-damaged images salvaged during my family's 10-year bout with homelessness, and original photography to re-imagine a lost family history. Working in the tradition of the archaeologist and the archivist, I sample as well as reorganize existing materials into a series of images to produce a non-linear narrative that dances between vivid and vague memories. HOT ART (summer in the city): Peter Milne Greiner on Klass's "Universal Fit"
“Standardization leads to variation. The repetition of motion forms a meditation. Lines divergent from and contiguous to the original appear. Small squares assembled begin to impose a narrative.” On the wall, beneath the title of her exhibition, Universal Fit, Emily Klass has placed these
FIELD NOTES from Indra's Net "and pretty soon there’s my arm !" with Donna Fleischer
and pretty soon there’s my arm ! :
A Field Notes baedeker
by Donna Fleischer
On assignment in the Exit Strata Field Notes office sans walls. Mountain air and wild clover nitrogen sacs beneath rockshelf. Fertility Wampum. Barefoot through their unseen globules, nodules, atop sandy patterns the width and wavinesses of a snake’s movements, as in many Navaho textile weavings, as are the photograms of Adam Fuss. How I try to mostly (write) now, undulate, corporealize and scrabble across this Connecticut steppe and mountain ridge meadow.
Morning blueberries, raw almonds, coffee, black cat, garter snake, mockingbirds swoop and dip into the small clover clumps; read mainstay poets with field glasses and compass ~ Charlie Mehrhoff, Amy King, Karma Tenzing Wangchuk, purple crown vetch and a stand of Queen Anne’s Lace tall from rain, Noelle Kocot, Ana Božičević, Tim Trace Peterson, Filip Marinovich, Tyrone McDonald, David Pontrelli, mountain winds, CAConrad, Anne-Adele Wight, bird squawks, Scott Watson, Bob Arnold, Ariana Reines, Christina Pacosz, Lynn Behrendt, marlene mountain, just can’t name them all ~. My neighbor April just came home in her red Beetle. Its motor purrs. The weather is magnanimous. Here’s the skull of Phineas Gage, poor man, lodged in my brain. I retrieve the railroad tie, place it in the ground, as totem. Who is to know how it all begins, goes forth, stumbles along, falls and crawls back with earthworm writhe to write.
Community CoCo / U-Topian Rhizome PARTICIPATORY PROMPT: on the co-evolution of language/music
In which we reach out to our community to engage in the making of Collaborative Content beyond our Topic (place-bound) limitations, to invite you to participate Rhizomatically in the conversation/dialogue that happens here on site. Responses will be catalogued and posted in a follow up feature, and potentially (if you are speedy) read from at the event itself.
Please email all responses to editors@exitstrata.com or respond in the comment section below. Thanks for playing!
What makes human communication different from that of animals? Where does music fit in? How can our poetic or other verbal creation be representative of a more essential form of human communication, reminding us of our linguistic origins?
FIELD NOTES : Architectural Uncanny, PART 2 :: Martin Byrne's Moments of Environmental Opportunity
Every now and again, as I walk around these not-so-pristine streets, my eye will catch something small, some strange forgotten detail on a building facade and it will tell me to record it in some way, sketch or otherwise, in order for it not to be forgotten entirely. Other times, my forehead opens up and things fall out and I'll need a place to catch them.Most often though, the idle thoughts that pass through typically revolve around or revolve in some kind of environment, not necessarily a building, maybe a set of buildings, or a wilderness, none of which exist in the proper sense, and therefore need to find space on a notebook page. The design process that has sort of formed itself within me over the years took a narrative turn while I was working on my master's degree. The sense that buildings and environments needed to be created through the positivist flow seemed to be too limited and cold for my tastes and the only way to find new opportunities in design would be to come at it from the other side. Or from underneath, as the case may be. This lead me towards intuition, accident, error, and then eventually to poetry, though I far from consider myself to be any kind of poet.FILM : A PLACE TO STAND :: Help Support the Completion of this Beautiful Documentary on Chicano Poet Jimmy Santiago Baca
I am learning to look at myself differently, to see the scattered remnants of hope and dreams and collect them again, return to my old house after the war, pick through debris for old photos of mind and soul, glue together my
