Daylesford NYE parade also mentioned here (last year's event).
Showing posts with label joy. Show all posts
Showing posts with label joy. Show all posts
Thursday, January 1, 2009
Tuesday, December 16, 2008
Wednesday, November 26, 2008
Nothing more, nothing less
There is nothing more self-determining, anarchical, pleasurable, poetic, subversive, exhilarating and intensely rewarding than growing your food. Today I planted 6 varieties of Banksia, two Blackwood wattles and about twenty stalks of sweet corn in the free soil, now weeded and mulched, that council dropped off last week.
Wednesday, November 19, 2008
Tagged Post (a response to Hamish Morgan)
The following writing is in response to Hamish Morgan's comment on Tag yesterday.
I don’t think Tag is ‘against the city’; at least it is not a negation in total. It is difficult for play to be against something when it is caught up in the surprise and the joy of the new.
We have made similar work in the country, and of course the environment alters the work we make wherever it is. A rule of our practice, set out by John Cage, is ‘a work of art should include its environment’.
So, I see this new work not so much a critique, nor a logical attack, rather states of permanent play (permaplay) in everyday space and poesis (meaning-making) through activity before langauge. Making art without producing anything consumable is an obvious eco-politic that is 'against' the city (civis, civilisation, centre, transportation of resources, capitalisation, etc), but the work overall, I think, is more than this.
We specifically chose non-heroic, non-spectacular outer parts of Melbourne for no other reason than CBDs (toxicities) are so last century.
In relation to tagging itself I have a developing interest in the urban phenomenon of self-determining font making, graffitists who through the act of generating their own personalised fonts decentralise and demiltarise the alphabet in public space. This is important and exciting territory, and the body as tag is an extension of this line of graffic thought.
To make Tag we caught a train down to Melbourne, thus burning carbon, so this is a negation of our own making. A zero carbon footprint comes in small gradual steps over the next 6-7 years. Just in terms of carbon, we have a very small distance to go compared with, say, Fox Studios.
Additionally this film is part of a gift-ecology, a concept I'm developing so as my overall practice continues to contribute to the global movement of decapitalised art. I use gift-ecology instead of 'gift-economy' (a term developed by capitalists), because art should produce no waste – hence permanent culture (permaculture) as antidote to toxiculture.
I don’t think Tag is ‘against the city’; at least it is not a negation in total. It is difficult for play to be against something when it is caught up in the surprise and the joy of the new.
We have made similar work in the country, and of course the environment alters the work we make wherever it is. A rule of our practice, set out by John Cage, is ‘a work of art should include its environment’.
So, I see this new work not so much a critique, nor a logical attack, rather states of permanent play (permaplay) in everyday space and poesis (meaning-making) through activity before langauge. Making art without producing anything consumable is an obvious eco-politic that is 'against' the city (civis, civilisation, centre, transportation of resources, capitalisation, etc), but the work overall, I think, is more than this.
We specifically chose non-heroic, non-spectacular outer parts of Melbourne for no other reason than CBDs (toxicities) are so last century.
In relation to tagging itself I have a developing interest in the urban phenomenon of self-determining font making, graffitists who through the act of generating their own personalised fonts decentralise and demiltarise the alphabet in public space. This is important and exciting territory, and the body as tag is an extension of this line of graffic thought.
To make Tag we caught a train down to Melbourne, thus burning carbon, so this is a negation of our own making. A zero carbon footprint comes in small gradual steps over the next 6-7 years. Just in terms of carbon, we have a very small distance to go compared with, say, Fox Studios.
Additionally this film is part of a gift-ecology, a concept I'm developing so as my overall practice continues to contribute to the global movement of decapitalised art. I use gift-ecology instead of 'gift-economy' (a term developed by capitalists), because art should produce no waste – hence permanent culture (permaculture) as antidote to toxiculture.
Again, all this is transitional thought, on the way to a post-industrial, post-consumerist modality.
Thanks to all the commenteers – such generosity!
Monday, November 10, 2008
Tuesday, November 4, 2008
Billy
We're a little worried about Billy. She hasn't been looking that great of late. Our friend Jo said it sounds like she has a respiratory infection – budding vets and other chook experts can see Billy's condition for themselves here. On Jo's recommendation we have put a solution of boiled garlic in their drinking water. If Billy has not improved in the next day or two we will take her to the vet. Cuba and Dirt on the other hand are fighting fit – as demonstrated by their day's joyous offerings.
Monday, October 27, 2008
Zephyr carves up Swallow
A few years ago Zeph, Michael Farrell and I were walking from one room at the Ian Potter (NGV) – a gallery for non-compostable toxiculture specifically obsessed with Australian art – to another room where Ricky Swallow's dumb Vader object sat mutely on the floor. Zeph took one look at the dark ziggurat-like mask and launched himself at it, quickly mounting the top. At the time I expressed my delight to Micki Faz (as nicknamed by Nick Keys) that Zeph, at age 4, had out-done his dad in terms of cultural achievement. This little flick, taken a month or two ago, reminds me of that beautiful spirit at the Potty.
Wednesday, October 15, 2008
Monday, October 13, 2008
Sunday, October 12, 2008
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