changing the course of nature

changing the course of nature
  • place: Arvada, Colorado
  • enclosure: http://tech-no-mad.net/blog/wp-content/uploads/2011/08/20110825-202_chan.mp3 21471783 audio/mpeg, http://tech-no-mad.net/blog/wp-content/uploads/2011/03/20110311-014_chan.mp3 34050264 audio/mpeg, http://tech-no-mad.net/blog/wp-content/uploads/2011/03/20110311-013_chan.mp3 11006085 audio/mpeg, http://tech-no-mad.net/blog/wp-content/uploads/2011/09/20110906-232_chan.mp3 16943195 audio/mpeg

06::October::2011 21:49 → permalink

Changing the course of nature, a series of actions, grew out of a fundamental principle that the embodied and living Self (as organism) alters the existing flows of the ambient natural system — the system which the Self is (merely) the energized extension of. If one envisions life itself as being a negentropic phenomena occurring as part of a field of energy without known limit, then it makes some recursive sense that a life-form would seek to extend the alteration of the flows that are moving around it, through it. Predation is a form of this, eating, consuming; sensing even could be construed to be an alteration (as Quantum) confirms — that the observer changes that which is observed. Alteration, fluctuation, change occurs at all scales.

One easily accessible phenomena that presents the idea of energy flow with a certain universal precision and intuitive simplicity is water. Fluid flow surrounds the body in water vapors, airs, sprays, and floods, while we also consume this flow directly, finding necessary sustenance for the body-system. Although the internal system is, topologically, simply an extension of the surface area of the external skin — both skin and gut are sensitive interfaces with submerging energized flows — with liquid energy flows everywhere.

Life speeding up entropy …

(the tool — axe, hand, mortar&pestle, hammer, rock, saw, shovel, rope (or use ‘natural tool))

“non-destructive” ?? (impossible not to change), but constructive/destructive don’t really apply

chopping down the dead birch tree in the Catskills (@ Bill’s place)
sawing a tree for fire wood
breaking off lower (dead) branches of all trees in an area
pushing down dead timberrrrrrrr(!)
adjusting the flow of water in a creek
trundling rocks (rolling with gravity)
throwing/skipping rocks into/across water bodies (skipper)

tying trees together (rock to tree)

watching anything

digging a hole

the body (hand on things, stepping on ground, in water, etc.)

Video — (finding a rock, digging it out, moving it, digging a hole to get dirt to fill the first, and replacing the rock in the second hole and covering it up.) (crushing a handful of leaves (mortar and pestle))

Changing the Course (of History/of Nature)

This series of performances takes place in isolated areas in the American West where the artist encounters moving water. Water in the West is a fundamental issue. Watch this space for evidences of change:

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or go here…

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changing the course of nature
  • place: near Mirror Lake, Colorado

06::September::2011 18:30 → permalink

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changing the course of nature
  • place: near Mirror Lake, Colorado

06::September::2011 18:00 → permalink

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changing the course of nature
  • place: near Mirror Lake in the Collegiates, Colorado
  • enclosure: http://tech-no-mad.net/blog/wp-content/uploads/2011/09/20110906-232_chan.mp3 16943195 audio/mpeg

06::September::2011 17:20 → permalink

before changing the course of nature, near Mirror Lake, Colorado, September 2011

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changing the course of nature
  • place: Mill Creek, West Elk Wilderness, Colorado

06::September::2011 16:59 → permalink

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changing the course of nature
  • place: Great Sand Dunes National Park, Colorado

25::August::2011 16:00 → permalink

before changing the course of nature, Great Sand Dunes, Colorado, August 2011

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changing the course of nature
  • place: Mint Wash, Yavapai County, Arizona

11::March::2011 12:21 → permalink

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changing the course of nature
  • place: Carrizo Plains, California

24::December::2010 15:51 → permalink

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changing the course of nature
  • place: Carrizo Plains, California

24::December::2010 11:33 → permalink

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changing the course of nature
  • place: Coal Creek, Colorado, US

19::June::2009 16:53 → permalink

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Infinite Jest: Kinds Of Light
  • place: Prescott, Arizona
  • enclosure: http://tech-no-mad.net/blog/wp-content/uploads/main/2008/10/1013-kinds_of_light.mp3 7400047 audio/mpeg

13::October::2008 04:48 → permalink

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Kim proposes a new microsound project, making sound tracks for the experimental films of David F. Wallace’s fictional character James O. Incadenza in the book Infinite Jest. I pick Kinds of Light as it immediately strikes a resonance and subsequently patch together an obsessive piece in 24 hours (4,444 frame splices on a multi-track of a water performance in Pool Creek Canyon (changing the course of history)), shatter-welded with audio from video footage of standing at a confluence in the West Elk Wilderness entranced by the Pele’s hair of water coming from the sun). definite sonic hyper-retinality.

I missed Wallace during my North Amurikan vacancy of the last 20 years. surprised I hadn’t run across him randomly, though, given the households that I have ramble through on the nomadic way. George knew him and speaks highly of his character. sadly for all of us, another victim of the intensity of be-ing. I plow through Oblivion, and a couple other books that I managed to recall at the library. extremely dense. the first short story I read drove me, half-way through, into a delirious sleep from which I woke ten minutes later, not knowing where I was. jittery, caffeine-fueled, precise jewels. you see the faceting process, the cutting of the entire glittering crystal, a tedium of focus, the high-speed grind with diamond grit, a rocking, polishing movement across the charged wheel. spun tales. fiber glass. each brittle thread opening a bloodless wound which nano-gapes at the whole fuckin’ world, all at once. he would be Brakhage’s cinematographer if Brakhage was blind and able only to see the inside of his eyelids.

“Kinds Of Light” – B.S. Meniscus Films, Ltd. No cast; 16 mm; 3 minutes; color; silent. 4,444 individual frames, each of which photo depicts lights of different source, wavelength, and candle power, each reflected off the same unpolished tin plate and rendered disorienting at normal projection speeds by the hyper-retinal speed at which they pass. CELLULOID, LIMITED METROPOLITAN BOSTON RELEASE, REQUIRES PROJECTION AT .25 NORMAL SPROCKET DRIVE

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