birthday flowers

Half the year has whizzed by already. I’ve never been so busy in all my life. For a while there I was officially doing a few too many big things at once. Now I’m only doing one big thing at once. What a relief! Well, relatively speaking. My summer writing schedule is insane. I handed in a manuscript draft on July 15th. The editor’s comments are due back July 21st. That leaves six days in between for dental procedures, doctor’s appointments, grant applications and various other overdue paperwork, banking, random socializing and oh I don’t know maybe a bit of summer vacation.

Our friend Adriana has been visiting Montreal from Mexico for four months now and we have barely seen her. She has to leave soon. We made plans to get together. We would have loved to have taken her out of the city to see a bit of countryside but alas we had no time or money or car. But surely there was something somewhere in the city that she hadn’t done yet? She said what she really wanted to do was to go see Buckminster Fuller’s geodesic dome, but she thought I’d probably done that a hundred times already. Nope, I’d never done that in all the 18 years I’ve lived in Montreal!

Pre-excursion research indicated that Buckminster Fuller was born on July 12th 1895. I was not surprised at all to hear that he was kicked out of Harvard twice. We summer birthday folks have a hard time with conventional thinking. Adriana and I went to see the geodesic dome he built for Epxo 67 on July 17th 2008, 113 years and five days after his birthday. My birthday is July 18th. Adriana is leaving town on July 22nd. It all worked out very well, mathematically speaking.

I’ve seen the dome from a distance of course, but never up close and personal. We got so inside the thing as to be able to see how the joints are made. Now we know how to make a geodesic dome of our own. Why I waited 18 years to do this I don’t know. Not only is Bucky’s dome amazing, but it’s also on an island. This means that when you go see it you are magically transported to another world. Parc Jean-Drapeau is quiet and cool. A secret garden, a real marvel, replete with waterfalls and lily ponds traversed with curved footbridges a la Monet and everything. I took dozens of pictures. If Monet had had a digital camera everything would have turned out differently.

Adriana was a marvellous companion. We picnicked under the dome and took whichever footbridges came our way and spent ages peering into the murky shallows of one lily pond after another, admiring the fish and ferns and spiders and red winged blackbirds each with equal wonder. There’s a gigantic Alexander Calder sculpture in Parc Jean-Drapeau. Who knew? There are tree-lined paths along the river that – in the hot and humid haze of summer – look like works of the impressionist pointillist painter Seurat.

It’s great to get out of the city. Even for a few hours. From across the mighty Saint Laurence River Montreal looks far far away. For the price of a metro ticket you can hear the river lapping on the shore and hear the birds in the trees and feel free as one of them. And then, for the price of another metro ticket you can scoot back into town again and go to an art opening. We went to see Reverse Engineering – a first ever exhibition of works on paper by installation and intermedia artist, jake moore. Our Buckminster Fuller research perfectly prepared us for jake’s work.

Tree branches have been central objects in her practice for several years where they stand in for antennae and antlers representing both communication devices of the natural world and a metaphor for a kind of hierarchical learning strategy, “arboreal” referred to negatively by Deleuze and Guattari. Here, the same branches used in earlier installations have been measured, mapped and charted using the tools available in Hexagram Concordia’s rapid prototyping lab. In a somewhat perverse twist, the tools were not used to develop a new 3 dimensional iteration as they are intended but instead the wireframe models have been printed as the final works. They are indexical measures, or a cartography of the skin of these trees. Quite imperfect, as it is impossible to measure every surface of the tree – Shockingly complex, as the delicate linear quality of trees is revealed as a fractal and crystalline surface. They are abstractions made with rational means. jake moore

Even if you don’t have time to go see the geodesic dome first, check out jake more, Reverse Engineering at the fofa gallery at Concordia: http://fofagallery.concordia.ca/

I slept late the next morning, after all that fresh air. I woke up and thought I heard the doorbell downstairs ringing. Then a few minutes later I heard our doorbell, and figured out that the first doorbell had actually been our doorbell only I was asleep and just dreaming that I was a wake. It was Adrian at the door, bringing me birthday flowers. One was shaped exactly like a geodesic dome.

I usually agonize over what to do for my birthday for months in advance and then no matter what I plan it never works out because everyone is always out of town. This year I thought I had that problem solved. Some friends from New York were going to come up and visit us for my birthday but then their travel plans got high jacked by their work schedules. They’re still coming, but not till next weekend. This weekend I had no plans. A few evolved organically. Basically, friends came over for drinks. The 2boys were in town for my birthday for the first time ever! jake moore arrived in a polka dot dress bringing me yet more flowers and an artist’s book as a present. Alexis O’Hara also arrived in a polka dot dress and brought me an art book present. I attribute this coincidence to the full moon, the biggest polka dot of them all.

I’ve known jake moore for at least fifteen years now and have only just discovered that she knows the names of all the flowers. How delightful. How very clever. One of the flowers she brought for my birthday now arches elegantly over a statuette of Michelangelo’s David perched on a stack of books on the shelf above my desk. It truly is a gift to have something so lovely to look at. Even after these flowers fade I’ll have their after-image. Which will come in handy. Any day now the latest manuscript revisions will make their way back to me. I’ll spend the rest of the summer sitting right here staring at this spot.
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WOMEN’S ART: TAKING OVER THE WEB

Studio XX launches MATRICULES: Canada’s largest public online archive of digital artwork by women and one of the world’s largest online archives of women’s digital art. Created with invaluable support from Heritage Canada’s Canadian Culture Online Program and hosted by Studio XX, Mobile Media Lab and the Department of Communication Studies at Concordia University, Matricules will launch on Tuesday, May 13th, 2008 from 5:30 PM to 7:30 PM at Hexagram Concordia, 1515 Ste-Catherine West (corner Guy) on the 11th floor.

Matricules is an electronic documentary herstory spanning eleven years of research, creation and exploration at Canada’s one-of-a kind Studio XX. Mingle with some of Montreal’s most celebrated new media artists on a spectacular terrace overlooking Montreal and enjoy a performative reading by J.R. Carpenter, two-time winner of CBC’s Quebec Short Story Competition. Prominent interdisciplinary artists Caroline Martel and jake moore will offer their take on the website’s creation process and Matricules Project Director Stephanie Lagueux will give audiences a private tour of this remarkable new digital archive.

The xxxboîte, a limited edition artifact comprised of original texts and a DVD produced in celebration of Studio XX’s first decade will also be presented and available for purchase as an important addition to any contemporary art collection.

Founded in 1996 with the goal of ensuring a defining presence for women in cyberspace and in the development of the digital arts, Studio XX is Canada’s foremost feminist digital art centre for technological exploration, creation and critique. Committed to establishing women’s access to technology, with a strong focus on Open-Source software, Studio XX offers artist residencies, monthly performance salons, an electronic magazine, a weekly radio show and HTMlles: an international biennial cyberarts festival.

“Matricules is a privileged gateway to dazzling integral digital artworks” comments Paulina Abarca-Cantin, Studio XX’s Director General. “This electronic treasure box offers the public live works by greats like Shawna Dempsey, Chantal DuPont, Deborah VanSlet, Women with Kitchen Appliances, Suzanne Kozel, Isabelle Choinière and AGF to name but a very, very few of the best of the best.”

Matricules was made possible through generous support from The Canada Council for the Arts, The Conseil des arts et des lettres du Québec, the Conseil des arts de Montréal, Mobile Media Lab and the Koumbit network. Studio XX wishes to thank its members, volunteers and visionary funding partners including Canadian Heritage’s Canadian Culture Online initiative.

http://www.studioxx.org
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Getting In On The Ground Floor: A Hazy History of How and Why We Banded Together

In the beginning there were only a few of us. That we knew of. We thought there might be others, but we weren’t sure where to look. We were in a room. It was a small room. If it had a glass ceiling, we couldn’t see it. The point was to share the room, and what was in it. What was in it was a lot of paper and also, a computer. It was our understanding that the computer would replace the paper. We hadn’t got that working yet. We had other, more pressing questions: Where is this place called cyberspace? And who pays for it? We asked around, but no one would tell us anything. Go away, they said. You’re no good at math, they said. Which only made us ask more questions: What are they hiding from us – passwords, codes, equipment? What are we missing – information, networks, power? What don’t they want us to know – that if they can do it we can do it? If they can do it than how hard could it possibly be?

One day we decided we would ask the computer. Computer, do you contain any answers to the many questions you engender? We huddled around it. We only had the one. It was a grey-beige box with a beetle-black glass eye. We knew we had to get past the surface of the thing. We knew that deep down inside our grey-beige box was much larger than it appeared. It was connected to other grey-beige boxes in other rooms. Stashed away inside these millions of boxes there must be billions of answers.

We switched the computer on. There was a click, a whir, and then a steady hum. Soon enough we sat basking in a blue-green glow. A cursor blinked at us. We blinked back. Now what do we do? Expectations were running high. We’d been promised progress, deliverance, another chance. And there was this cursor clearing a path to the command line for us, a clean slate. Before we knew it we were giving it orders: run, kill, execute. This kind of language was hard for some of us to take. Some of us just wanted to: sleep, jobs, stop, exit. Others wanted to know more: list, who, finger, history. Cables coiled at our feet. They snaked out the door. We slipped out with them. So this is how we shed our skin!

We had stumbled into uncharted territory, an outlaw zone where we could be anything, anyone, anywhere. We could be logical. We could be abstract. We could be “it” or “he/she” or we could log in as Guest and cruise anonymous through Archie, Gopher, Telnet and FTP. We wandered around like this for a dog’s age. Which, in Internet years, was just a few days. We still had bodies. Our wrists were sore. And everywhere we went we were: @gender, language thwarting us at every turn.

One day we were minding our own business writing shell scripts on the command line when a bright spec appeared on the horizon. It was a pixel. It was a mass of pixels. The pixels joined forces. Soon they formed a thumbnail, and then a whole jpeg. An image! The next thing we knew no one knew who was issuing commands anymore. We were all clicking away on icons. What we saw was what we got. One thing linking to another, faster and faster, around and around we went.

Now all we have to do is ask, and answers come racing at us. So many answers. What were the questions again? They were merely predictions. They enabled us to move forward. Toward what? We never would have guessed. How many of us there are. How much we do and do not know. How are we going to remember all this? Will our uncertainties be stored online, along with our desires? Maybe we’d better print them out just in case. How necessary is closure? Well, it’s a start anyway.

“Getting in on the Ground Floor: A Hazy History of How and Why We Banded Together,” an essay by J. R. Carpenter, published in xxxboîte, an artifact produced in celebration of the first ten years of Studio XX, a Feminist art centre for technological exploration, creation, and critique.


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xxxboîte

Official launch: Wednesday 17 October , 5 à 7
Galerie Yerge au, 2060 Joly, Montreal [map]

xxxboîte is an artifact produced in celebration of the first ten years of Studio XX, Centre d’artiste féministe engagé dans l’exploration, la création et la critique en art technologique. The boîte contains a publication featuring new texts from Kim Sawchuk, Marie-Christiane Mathieu, Anna Friz, J.R.Carpenter, and Michelle Kasprzak and a DVD comprised of documentation of selected projects, presentations and events of the first ten years of programming at studioxx. Inserted into this collection is a limited edition print from Montréal based artist, beewoo.

Faced with the impossibility of fully describing something that continues to shift in form and intentions, commissaire invitée, jake moore, has instead assembled the residue and remnants of the studio’s affects and actions for your consideration. The resulting collection indicates a centre ripe with exchange, diversity, and energy whose development parallels that of contemporary digital technologies.

Artists and projects represented on the DVD include: Kim Sawchuk, Kathy Kennedy, Sheryl Hamilton, Deb Van Slet, Histoire Orales, MXXR, Élène Tremblay, Anna Friz, Annabelle Chvostek, Katarina Soukup, Valerie Walker, Nancy Wight, Hope Peterson, Stephanie Lagueux, Diane Labrosse, Chantal Dumas, Caroline Martel, Miriam Verburg, Genevieve Heistek, Nancy Tobin, Bernadette Houde, Anne-Francoise Jacques and more…..

For more information and/or to order xxxboîte contact studioxx
4001 Rue Berri, espace 201, Montréal. Québec H2L 4H2
tél: 514-845-7934 . fax: 514.845.4941, accès (carte) | info@studioxx.org
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