NEW WEBSITES

NEW WEBSITES

#romanticgrasses http://romanticgrasses.com #moonpsychics http://moonpsychics.com Both these projects have been amassing A LOT ...

Wednesday, 28 July 2010

Results Published on Alternative Intelligence Creation & Time Travel

1) Results Published on Alternative Intelligence Creation

Date: Friday January 15th 2010
Where: Exist-ence Performing Arts Festival, White Canvas Gallery, Brisbane
Attendants: 50

Assumptions:
  • Our bodies own information processing system provides a networked model for alternative-artificial intelligence. 
  • Neurotransmission can occur between different information processing systems (bodies). This is not chemical or electrical but a phenomenal one. This kind of neurotransmission is so far unexplained and supernatural. These performances do not try to explain this but try to prove that this process exists.
  • This phenomenal neurotransmission results in an ulterior energy phenomenon which could be called an alternative intelligence.
Questions:
  • What happens when different information processing systems (bodies) are networked sensorily and cognitively?
Hypothesis:
  • Artificial-Alternative intelligence can be created from the sparks that imitate neuron activity when human bodies are networked sensorily and cognitively.

Method:
  • We use the cognitive process of mindmapping 'Spiders' and fast group word/touch/smell/musical association to generate synaptic activity across all bodies in the room, this activity/energy will create an ulterior form of intelligence.

Challenges: How does one recognise an intelligent energy being?

Previous Trials
2009 Thursday August 13th - Tacheles, Berlin
2009 Tuesday August 25th - White Rabbit Gallery, Berlin
2009 Sunday September 20th – Ptarmigan Space, Helsinki
2009 Thursday November 6th – Discobeans Artspace, Melbourne


Results:
On January 15th 2010 we finally created an energy being of alternative intelligence, who to prove its existence, manifested in the Zoom H2 Digital Audio Recorder.

Previous Trials:
At Tacheles, Berlin about 60 people tried to make an alternative spider intelligence. Amazed largely by the concept of artificial intelligence creation and mystified as to why I was tying tape around them, they finally got the message and fervently joined in our word touch association game. We talked a lot about 90's and grunge music and maybe got a little bit obsessed with talking drugs. The large challenge here was that no one knew what I was going to do, and ironically remembered me for falling off the stage whilst performing at Wasted Festival, Transmediale 2007. But everyone will now remember me for introducing them to Hide, the Japanese Glam Rock Star.

Photo By Ve Mac

At White Rabbit about 20 people witnessed the next invocation of the spider intelligence. This time I had instruments to create an extended sensory arsenal touch and sound, together with our cognitive mind mapping and word association. The crazy recycled horns were a definite hit. In retrospect, I think I had made them look too much like jewelry.

At Ptarmigan to about 50 people I took the spider intelligence calling to a whole new level. I had the whole month in residence to prepare and decked out the gallery space with all kinds of musical instruments that I thought could bring out more interactions and synaptic connections – pipes, marimbas, chimes, dishracks. I even made T-shirts. Everyone loved the horns and other room instruments and played them during the whole performance, creating much better sound-word interaction than ever before. The audience was very enthusiastic and really helpful in trying to bring the intelligence out. Words were shouted, sounds and hands were bound all over the place. I also introduced the use of another language apart from English and Japanese, Latin. I was really close tonight, I could feel it.

Photo by Yoko Kimura


At Discobeans, I got majorly distracted and the large piece of word association ended being about how hot the day had been. A few people had a go at the horns, and I got 8 eyes drawn on me. There were no audible results on the Zoom recorder (embedded here)



Photo by Holly Fluxx
The Successful Trial:
At Exist-ence, I was playing to my home town, everyone was prepared and I decided to introduce the sense of smell. The audience was very responsive and we didn't get off track. It was similar to the Ptarmigan performance and I finally ran out of my washing machine pipe horns. The danger-oil-water-flame-coriander- association even set off the fire alarm. The connection to the
Emergency Services Network tipped our critical mass of
neurotransmission. The evidence that was waiting for me, I didn't find until July, when I finally went through my documentation.

The tape was left recording after the performance at Existence – shortly after Alan left, a presence entered the tape machine, you can hear it for yourself. It is a true artefact. It is the intelligence we had been trying to create for the last 45 minutes. Powered by our synaptic communion and interaction around the theme of 'Spiders,' we created an AI that wished to make itself known. 

Proof of Artificiial Intelligence & Time Travel from nicola morton on Vimeo. Further Questions: Does this being exist materially in another dimension? If so, how do we get there... 2) Results Published on Time Travel
Date: 20 July 2010 (nr Winter Solistice)
Venue: Tidy Kid Space, Brisbane Australia
Attendants: 35
Hypothesis: Travel through other times and dimensions is possible and can rewrite our past and future.

Last night I attempted to enter the fourth dimension.

Assumptions: Time is not homogenous. Time is not linear. Time travel subsists of our phenomenal perception/s of other times/dimensions.

I accompanied my time travel with a cinematic projection of a time/space where I developed my shamanic power (Asheville, USA). The recording of moving time, and time itself being moved was the medium for our time travel. We channel the creative force of Om to cleanse and charge us.

In the performance I had to admit that for the second half of my hypothesis my intentions were personal,

• I wanted to rewrite my past, not just in my mind but also in other peoples (and their preconceptions) plus somehow affect the technology that recorded it.

• I wanted to start exploring the future

• Why? My life was alerting me to repetition, habit and involuntary memory. Time is not linear. I kept on experiencing nostalgic time loops, I felt like I was reliving time by travelling across the same routes to the same destinations, experiencing the same sensations in a different time and re-encountering demons I thought I had slain. I thought I was falsely experiencing Nietzsche’s rebirth (hence the reading of Sylvia Plath’s “Lady Lazarus” and Arthur Rimbaud‘s “Jadis, Si je me souviens bien” (Once, if my memory serves me well).

• I wanted these trajectories into the past to not affect my progress into the future. I found some power in cleansing rituals, but I realised what I wanted to do was not cleanse but tidy. I wanted to tidy up my past and future, add a few words, rewrite it, culminating in the final statement “My debt is paid”


The first jaunt into space I passed around my diary, which contained a drawing of a diagram that appeared to me during one restless night in New York where I was working on equations for time travel. I was adding, subtracting hope and redemption to the past and the future, multiplying that into the future and dividing by probability.


I see the carpet is no longer blue but green. We first hear the sound of keys, it is a Rhinoceros. The Rhinoceros follows us everywhere we go making that noise. The Rhinoceros actually flies. How can something so big fly? There are more animals here, and a very loud noise of Marimbas (but the noise comes from a machine). A wolf makes tinkling sounds while it sleeps. We do not wake it, but come across a giant fruit loop but its organic, made from organic raw sugar and natural flavours, a treat from the Gods. Is there a river of soy as well? No, this is not heaven, there is a river of Cocaine. Or is this Paradise? The carpet is green still, so is my dress. It came from Sweden, the group now wants to go to Sweden, but I can smell the brewery, not ready to leave the space here, we do not have time and have to go back.

On our second attempt, I pass around photos of my mother, she turns 77 on 20/12/2012. I invite Rin Healy to take us to Sweden. We had been in Sweden together in the past. I could smell Hot Cross Buns. They were being baked by Moto X Riders, The Machine makes that loud marimba sound again. The Moto X Riders are more like Roly- Poly, but then all of a sudden they are fucking each other its Sodomy and I feel like I'm in Rome. I want to go to the future.

Future smells like Jasmine, main street but there is no street but a mainstream. There is a faint smell of lavender from the side. There is a meow from a robot cat, everyone is quiet in the future, because we are scared. I want to pat the robot cat. The robot cat feels like honey, is it actually a hologram my hand goes right through it, but I was told it’s a robot cat, I hear you can get high from a cat lick. The Cat licks Akiko, she sees a Dog in a tuxedo, she has gone to another dimension. Joel is still stuck in Sweden. The group is breaking up I must go back. My Debt is Paid.

Friday, 23 July 2010

Wagner, Beethoven and Monumentality in '2010: The End of Capitalism'

Simply, it's time to declare the end of capitalism. How better to signify this than with the use of monumental music, a term coined by Alex Rehding, meaning music that is full of fanfare and exudes moral authority. From what Thomas Mann calls the "bad nineteenth century" it is hard to ignore the 'midas touch' that exudes from Richard Wagner and Ludgwig Van Beethoven. Lydia Goehr waxes lyrical about Wagner the modernist hero "He showed the dangers of losing the musical in our music, the meaningful in our philosophy and freedom in our politcs." Whilst time and time again, I have personally experienced the sight of the most stoic audience driven to tears AND 30 minute standing ovations from the sublime Beethoven.

This film like the monumental music it employs, "is a commemorative object that is capable of linking the present with the perpetual past,"(Rehding 2009) but through its added anti-monumentality blasts the film into our endlessly expanding post-modern future. It is not just a memory, it's a promise. The film links the private space (the small home) with the public declaration (symbol of oversized capitalism) giving the film emotional fanfare like a solo horn amidst giant strings. But I am a futurist, I turn the monumental into anti-monumental. I aim to take the collective memory/energy from post-unification Berlin, a site of anti-monumentality - they tore down the wall in 1989, Christo and Jean Claude wrapped the Reichstag in the summer of 1995 and I lived there in a bubble from 2006-2009 "..free to explore what life would be like without any cappo scum totally harshening her buzz" (Werkmeister 2010). The Wagner is not played by a full orchestra that can be driven to suicide, but by a computer, thus the monumental is made anti-monumental, and within the transition lies the promise.

The choice of pieces further illustrates the monumental/anti-monumental: the ending movement of Tristan and Isolde and Bernstein's version of Beethoven's Ninth. The ending movement of Tristan and Isolde is the dramatic resolution/death, in which Wagner "showed the danger of losing the musical in music" by resolving that infamous first cluster chord from the Opening. Whilst in the film's finale, Bernstein's version of Beethoven's Ninth celebrates the end of capitalism just as it celebrated the breakdown of the wall in 1989. "Transformation is central to monumentality" (Rehding 2009), as the Ninth's songtext was famously changed from "freiheit" to "freude" cementing it in our memories of unification and freedom. Bernstein stretched the truth by claiming it was Schillers original intent transformed a dodgy myth to a culturally sanctioned truth, just as the incomplete ARD Broadcast of the G√ľnter Schabowski press conference convinced the East German masses they were free, so such large groups rushed to pass through the border that the guards just gave up.

Thanks to the cast of my friends, Berlin, Wagner and Beethoven this film is the medium, that delivers the rumour and promise - the message is clear 2010: The End of Capitalism - it is happening.

Reference:
Rehding, Alexander (2009) Music and Monumentality, Oxford University Press: New York.

Goehr, Lydia (1998) The Quest for Voice, Clarendon Press: New York

Werkmeister, Sarah (2010) '2010: The End of Capitalism' in 4000 The Best Cultural Guide for Things to Do in Brisbane at http://www.fourthousand.com.au/ Accessed July 9, 2010.

Thursday, 22 July 2010

A Transformative Event: For 7 Days We Talked Until The Point of Exhaustion

with Simbi Dare, Pack Place, Asheville Art Museum

This is film documentation from 'For Seven Days We Talked Until the Point of Exhaustion' by Simbi Dare and Nicola Morton at Asheville Art Museum, NC, USA. The audio consists of live marimbas played as part of this performance. An alternative soundtrack of the "secret dialogue" can be purchased from the artists via Paypal for $1: bit.ly/aXtHNr. This film was then used for the performance of Nicola Morton 'Disembraining Time Machine' at Tidy Kid Space, Brisbane, Australia. Filmed and edited together were natural repetitions during this 7 day period. The purpose of the film medium, sense of repetition and ritual is to present a non-linear concept of time that can be travelled even though it cannot be measured. This prepares the audience for time travel. What happened to the crowd while this was projected, you can read here: bit.ly/aH8EaT

 More about the Asheville performance: The idea of the feminine pow wow, endurance, bringing new archetypes into our lives to reinvent the old ones. Britney became Beyonce, Gwenyth became Kali. "before anything, I just want to let you know, that it's over"

Monday, 12 July 2010

"$1 A Blow" and '2010: The End of Capitalism'

Photos by R. Byers
are to be shown at Exhibtion IV, of twoten at appartment in Berlin, this friday night 16 July.

Review by Sarah Werkmeister

What denotes the end of capitalism? The growing of gardens, the burning of bridges, Denzel Washington starring in his own life thinking it's a movie? Nicola has just come back from Berlin - that place where you're pretty much free to explore what life would be like without "cappo scum" totally harshing your buzz. She made some video portraits about it and they're showing this Friday night. It might give you some ideas