This conversation is an introduction to the research conducted by Greg Barton for his thesis at CCCP (Critical, Curatorial & Conceptual Practices) at Columbia University. This research is essentially focused on Diego Garcia island situated in the middle of the Indian Ocean, a territory that was never decolonized and remains under British sovereignty. The island hosts a US military basis that was used for its geographic location during the cold war, the first Gulf War, and now the so-called “war on terror.” Similarly to Guantanamo’s Camp Delta, a legal narrative had to be produced in order for the basis to operate ...
Eve Bailey and I recorded this conversation in her studio in Crown Heights (Brooklyn) surrounded by her tools and artworks. We talk about her work that consistently engages the body to ‘conquer’ the sculptures she constructs with her own hands. We also discuss about how, despite the fact that her pieces are based on her own body, each body has a chance to appropriate them with no prejudice — their aesthetics allowing so — and eventually find a point of equilibrium, unique for each body. Toward the end of the podcast, she talks about her current research that explores association ...
This discussion with Momoyo Homma about the work of artists/poets/philosophers/architects Arakawa (1936-2010) and Madeline Gins (1941-2014) took place in the Reversible Destiny Lofts Mitaka where the Tokyo part of the Arakawa/Gins office is situated. We begin by introducing their work through a biographic approach, then through our interpretations of the manifesto “We Have Decided Not to Die,” which fuels the creative process of the five architectural projects built in Japan and in the United States, as well as the multitude of non-built ones. We conclude the conversation by describing the space around us, one of the Reversible Destiny Lofts: its bumpy floor, its sphere ...
This discussion with local architect Miloš Kosec about three (hi)stories of ruins in WWII Slovenia uses the structure of his Master thesis research about this topic. After an introduction about the sometimes problematic fascination one might develop for ruins, we begin our specific conversation with the example of the ruins of entire ethnic German areas in southern Slovenia emptied of their inhabitants after they were encouraged to move back to Germany by the Reich administration. The second example is found in the numerous medieval castles burnt by the partisans in their fight against the Axis in what appear to Miloš as a more ideological ...
The material point of departure for the accompanying track  is a new implementation of pulsar synthesis seamlessly integrated with the Distortion Product Otoacoustic Emission (DPOAE) and sieve algorithm . The context of this implementation is my ongoing research project focused on historical techniques of pulsar synthesis – first introduced by Curtis Roads in his book Microsound – its conceptual and programming extensions and using it for composition. The nature and aims of the project are twofold. The first one is technical – an analysis of the original Pulsar Generator program, its source code, underlying programming paradigm and user interface ...
It’s an energy, it’s the light, it’s a fever. It could be a sound that’s heard in our ears. Now that the boundary of sound has expanded beyond what it was in my childhood, the distinction between good and bad sounds is no longer important. It just exists on its own and is valued by someone to be meaningful. Wherever you are, whatever you do, you can hear the sound, and you can record the moment when you’re listening. It’s an element of sound that I define. Of course, that’s not important or it might be important depending.
I don’t know ...
This is a recording of a trio improvisation by Takahiro Kawaguchi (horns) Masahiko Okura (reeds) Masahide Tokunaga (alto sax) which was held at En-ban, a record store in Koenji, Tokyo, at 8pm on August 30th 2016.
Okura and Tokunaga are wind instrument players who work in both composition and improvisation. Rather than focusing on any one fundamental output, the handmade instrumentation and musical content of each of Kawaguchi’s performances are unique. On this recording, he performs as a “mechanical wind instrument player.”
Text translated from Japanese by Wonja Fairbrother. Audio mastered by Alan Jones.
This conversation addresses an important aspect of Merve Bedir’s work (along with Jason Hilgefort at Land+Civilization Compositions) regarding the architectural and linguistic dimension of Turkish politics regarding the 2.5 million refugees the country currently “hosts” — the very notions of “host” and “guest” are the first things discussed here. Through the description of several sites of either appropriation or dispossession/detention by and of refugee bodies in Istanbul and in other regions of Turkey, we try to think of the architect’s political role and responsibility, remembering however that we must always doubt of our own actions when they have such drastic consequences.
A knife is cutting through air, relentlessly. However, it cuts very slowly, by degrees and in circles; it’s a wooden knife, not very sharp, like a butter knife but with teeth. The structure upon which this knife is attached has a light bulb resting on it, a light bulb with a rather complex metallic grid inside, vibrating softly with every degree of the knife’s turns.
Then there is a strip of paper or a piece of thin cardboard, suspended; three toothpicks are leaning on and pushing this cardboard but they are not strong enough, the cardboard barely undulates. Sometimes a toothpick ...
An excerpt from a larger work comprising writing and performance that revisits and examines adolescent memories of suburban subculture.
Oak trees and whitetail deer in
Abundances we tame
Razed woods and ticky tacky
TV dins with the fam
Excess, the new convenience
Tinged with work ethic shame
Same teenage rage all summer
Restraint, virtue or sham?
Widescreen and lens flare evoke the epic or
mundane, point out our hero amongst mass-
produced hot dog buns. The popcorn-crunching
audience files in prepared for thrill,
everyone on their own path back home.
Well if you wanted honesty
call me a faggot one more time
I’m not OK trust me
middle school sucks
LOL smooths friend awkwardness
This conversation was recorded with Hoda Katebi, the self-defined “sarcastic (& angry) Muslim-Iranian writer, photographer, and activist living in Chicago” behind the political fashion blog JooJoo Azad (“free bird” in Farsi) to be featured in The Funambulist 15 (Jan-Feb. 2018) Clothing Politics #2. In January 2017, a few days after the inauguration of the current U.S. President and the subsequent massive feminist protest, she wrote an article entitled “Please Keep Your American Flags Off My Hijab” about which we discuss in this interview, along with many other facets of her work with regards to clothing in relation to imperialism, capitalism ...
Editor’s Note: This entry has been altered to honor a ‘Right to Be Forgotten’ request by one of the work’s contributors. The associated audio file is no longer available.
This conversation with [Anonymous], Nathalie Muchamad, Miki Nitadori & Ayomih intends to examine the specificity of anti-Asian in France. Although it was recorded in January 2017, it resonates with a particularly urgent echo today as, a few day ago, the French police killed Liu Shaoyo, a 56-year-old Chinese Parisian, in his own apartment, in front of his four (French) children. Far from the ‘simple’ observations of biased prejudices that characterize many conversations about ...