Unidentified Grass
Slide for Melanie Bonajo's party 'Night Soil' Sep 28. 2014 at Baby is Alright, NYC.
I have a post apocalyptic vision: grasses taking over social media - to return to nature, love, the universe and mother earth.
Showing posts with label berlin. Show all posts
Showing posts with label berlin. Show all posts
Wednesday, 4 March 2015
Monday, 1 September 2014
NAKED SMOKING CONES DJ
I've been invited to DJ at Club Purple. An installation by Stuart Ringholt, currently at the Institute of Modern Art, Brisbane. If you wanna come in, you gotta take your clothes off too.
I will be playing mixes of Smoking Cones releases. You may have heard some Smoking Cones releases on my Transcendental Nihilist MeditationVideos
Here's a recording of the mix I played:
I will be playing mixes of Smoking Cones releases. You may have heard some Smoking Cones releases on my Transcendental Nihilist MeditationVideos
Here's a recording of the mix I played:
DJ Nicola Morton at Stuart Ringholt's Club Purple by Nicola Morton on Mixcloud
Image Credits
Nicola Morton DJ Performance for Dan Rees’ Mid Afternoons and Evenings (2009). Tanya Leighton Gallery, Berlin. Courtesy Tanya Leighton Gallery. Photo by Yoko Kimura.
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:
Method:
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.
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.
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)
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.
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.
- What happens when different information processing systems (bodies) are networked sensorily and cognitively?
- 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 Günter 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.
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 Günter 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.
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
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
Monday, 10 May 2010
Saturday, 6 February 2010
Artist Review: Nicola Morton by Jackie and Simbi Dare
This reference for me is from the Editing Group of the Zine: Mind Objects: A Phenomenological Inquiry
1. Nicola is unique in combining amazing enthusiasm and ability to generate fantastic ideas with a just as admirable tenacity and determination to follow through with her ideas and present them to the public. Her work is consistently, brilliantly at the forefront of conceptual thought, challenging and quirky, yet invites you in with humor, performance and ebulliance. As energetic and dedicated as she is to completing her own projects, she devotes just as warm energy to being thoughtful and supportive of others, never missing a chance to be in the front row of a friends' show. She is a wonderful person to have in a group because there is simply no way to imagine her becoming jealous or competitive, or shirking her share. Her work in Mind Objects, a zine I published and distributed in New York and Berlin, is absolutely invaluable. Both her writing and her performances for the zine release were thought provoking, multi-textured, humorous, relevant and inspring. Both I and the Berlin editor agreed that of all the young artists we know, Nicola is the most deserving of success. Her enthusiasm and encouragement kept the zine on schedule when it might have flagged behind. I feel incredibly lucky to have her contributions and to have collaborated with her in writing, art and musical projects.
As a contributor to the "Phenomenological Inquiries" project, Nicola has repeatedly presented works that are challenging and engaging in ways that other contributions are not. Nicola's submissions consistently add new ideas, media and methods of communication to the project. Nicola has a unique ability to engage with new media and find ways of making new media function in novel and unintended ways. Her approach to technology is fresh, inquisitive and greatly individual. When engaging with any of her pieces, I find myself seeing with fresher eyes and a broader mind. I can only see further education continue and broaden this and give her a platform to truly shine.
2. For the past several years, Nicola has worked full time in addition to conceptualizing and performing consistently essential work. I always wished she could fully immerse herself in creating and producing art and music. Such an opportunity would not be wasted for her. Through the years her confidence has grown and now seems to be the perfect time for her to trust herself enough to make this switch. I believe this residency could be an essential turning point in her art and music career.
I believe that Nicola's approach to art as a means of communication and social renewal will contribute immensely to the art and culture of Brisbane. By studying, Nicola would be able to further advance her skills in utilizing new medias towards her artistic goals and further contribute to the art scene of Brisbane. Her contributions are simultaneously efforts at enhanced and new levels of social interaction and awareness; her ability to communicate would bring art to a wider audience and greatly enhance the role of art in society in general. Nicola is uniquely able to engage new medias and technology in challenging ways and the opportunity to study would be of benefit to her and to her community. I highly recommend her for the program, and look forward to to her future projects.
Monday, 28 December 2009
Trailer - Remote Viewiing Experimetn #1
Press Release – Remote Viewing Experiment #1 DVD Out Soon
Remote Viewing Experiment #1 is my copy of a military experiment to test and challenge psychic powers. We are given an object from a room and asked to visualise the room the object came from. After sending an open invite to friends and strangers, from 4 special ladies, I received 4 objects in the mail - a frog, a blue strawberry, a mini-carpet and a piece of pink holographic paper. I did my own readings and re-distributed the objects. The special ladies, Holly Flux (Australia), Sarah Harro (plus her friends Hanna Bergfors & Melody Panosian in Germany), Rin Healy (Japan) and Melanie Bonajo (The Netherlands) sent me their video readings. Remote Viewing Experiment #1 is a compilation of all these readings. Aesthetically it examines private spaces throughout the world and the objects we find within them. Metaphyscially, psychic ripples are felt in the cosmos during its conception, communication, materialisation and distribution. Psychic communication and love is building entropic power, it's the way of the future.
Trailer: http://www.youtube.com/watch?v=qWHpqIJb_ME
Screened so far:
Educational Copies are FREE – just mail me
Gallery Copies TO BUY come with Hand Made Photo Albums – mail me to pre-order now.
Remote Viewing Experiment #1 is my copy of a military experiment to test and challenge psychic powers. We are given an object from a room and asked to visualise the room the object came from. After sending an open invite to friends and strangers, from 4 special ladies, I received 4 objects in the mail - a frog, a blue strawberry, a mini-carpet and a piece of pink holographic paper. I did my own readings and re-distributed the objects. The special ladies, Holly Flux (Australia), Sarah Harro (plus her friends Hanna Bergfors & Melody Panosian in Germany), Rin Healy (Japan) and Melanie Bonajo (The Netherlands) sent me their video readings. Remote Viewing Experiment #1 is a compilation of all these readings. Aesthetically it examines private spaces throughout the world and the objects we find within them. Metaphyscially, psychic ripples are felt in the cosmos during its conception, communication, materialisation and distribution. Psychic communication and love is building entropic power, it's the way of the future.
Trailer: http://www.youtube.com/watch?v=qWHpqIJb_ME
Screened so far:
- August 2010 Off the Edge (New Media Festival), Las Vegas
- February 2010 Spystation NC1074, Loop Gallery, Newcastle
- January 2010, Brisbane Emerging Art Festival, Brisbane
Educational Copies are FREE – just mail me
Gallery Copies TO BUY come with Hand Made Photo Albums – mail me to pre-order now.
Tuesday, 15 September 2009
some live photos from Spyders and the Cult of Hide (Tacheles, Berlin, 13.08.09)
Join me as I try and communicate with the spider spirit..
Lots and lots more things each time..
Performance coming up - helsinki, ptarmigan - nilsiankatu 10. Monday 21st September
A Travelling Sideshow from Nicola Rocks. A particpatory performance involving imagination, chanting, hand made instruments, wit, music, puppets, singing, dancing, spread thru the audience with legs like spider and spun in circles, trying to catch some dinner.
Lots and lots more things each time..
Performance coming up - helsinki, ptarmigan - nilsiankatu 10. Monday 21st September
A Travelling Sideshow from Nicola Rocks. A particpatory performance involving imagination, chanting, hand made instruments, wit, music, puppets, singing, dancing, spread thru the audience with legs like spider and spun in circles, trying to catch some dinner.
Friday, 14 August 2009
Spyders and the Cult of hide
Spyders and the Cult of hide
A Travelling Sideshow from Nicola Rocks – Every show a little bit same and every show a little bit different
A 30 minute performance involving poetry, imagination, chanting, hand made instruments, charming, wit, music, puppets, singing, dancing all from the one Nicola Rocks but spread thru the audience with legs like spider and spun in circles, trying to catch some dinner.
Spiders do not live so long and ever since Charlotte's Web, I have always been sad about the short life of a spider. An important aspect of the performance is the Cult of hide, a Japanese Kurt Cobain. Audience members will learn about the man, sing his songs and leave the venue having grieved his unfortunate passing. Forget Noise Folk, this is Funeral Folk. Lets all get arty and cry together..
LIVE DATES – Berlin 11.08.2009 at Tacheles and Helsinki19.09.2009 at Ptarmigan
Monday, 22 June 2009
Video Responses for WWWolfpack
so yeah, to whet your appetite a little and for those of you who find it hard to go to a myspace URL
here are some responses i have already received..
wwwolfpack by Brain Hayden from nicola morton on Vimeo.
and the story at this link
http://www.feralchildren.com/en/showchild.php?ch=madonna
and this pic
here are some responses i have already received..
wwwolfpack by Brain Hayden from nicola morton on Vimeo.
and the story at this link
http://www.feralchildren.com/en/showchild.php?ch=madonna
and this pic
Saturday, 13 June 2009
12/06/2006 Performed in Supermort 2.5 at Acoustic Ibiza Death Petrol Fest, Antwerp
Hehe.. i just found this goody..
Sunday, 7 June 2009
14/5/2009 Abbaabba CD Covers
i made 12 cd covers for my band. all individual.. all didnt sell on tour..
Battle Oracle for Mort aux Vaches Ekstra Extra
BATTLE ORACLE
this is a conceptual score i have made for goodiepals mort aux vaches ekstra extra touring exhibition. it is delivered to be used in the war for a utopia in computer music. there are 8 scores for 8 players. the scores can be put on anything that is a musical object and played in a tactile or conceptual manner. some can be tied around things or blown on etc.. the scores are transparent because they see the future like an oracle. representations have been digitally consumed by the Trojan Horse Virus.
The physical objects remain and have become a part of Goodiepal's touring exhibition and has been on show at Harvard University, USA; Museum of Contemporary Art, Roskilde, DK; Denfri Gallery, DK; F-15, Moss, NO.
foto by M Bauer
in exhibition at Denfri Gallery:
1/6/2008 in Dazed & Confused Mag, Japan - Documentary Photography from Hanayo
hanayo also wrote some text about me but I cant understand it..
12/12/2006 Performed in Schlampampen, Orthodontic Aphrodesiac
Orthodontic Aphrodesiac 'Gold Teeth Master' CD+DVD is out on Jewish Noise JN06 2008.
I performed in the Schlampampen Feast - some of which is on the DVD above.
We took people on a trip to outer space in our space ship.. Late people were left outside and got no alien food. You can hear me nattering away on this video.
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