Excerpt from, Machu Pichu: Talking Stones Work in progress, Visual anthropology drawings.
I have always been interested in playing Quena or Siku panflute in different places in Peru and worldwide. According to Trevor Cox, his research on sound and the environment is about studying how sound travels and where it encounters solids then returns to you. The Machu Pichu site if you look at the aerial view drawings, has an array of mountains around it. Sound travels directly to the other mountains in front and returns other sound waves disappear into the valleys with the river. All directional sound returns to the source as a delay or echo. Years ago, the people from the village below “Aguas Calientes” on the Vilcanota river, 5 kilometers down from the Machu Pichu said, “We heard you playing Quena”
I am including this urban intervention video Esta Prohibido Tocar Quena because I was trying to make the foreign tourists in Machu Pichu enjoy native quena songs as they strolled. But to my surprise, there was a new law where nobody could play any musical instrument or boom boxes in Machu Pichu. Because it was declared a world marvel, a UNESCO cultural patrimony of humanity, and a sanctuary.
Esta Prohibido Tocar Quena. (It’s Forbidden to Play Q’ena)
Urban Intervention.
Performance in Machu Picchu.
Happening in Machu Picchu.
Performance in Machu Picchu.
Happening in Machu Picchu.
"La Contamanina" is a song from the Amazon. The melody was composed by an Italian violinist traveling to Iquitos, Peru, at the beginning of the 20th century in search of fortune during the rubber boom. The melody he composed describes the passion the beautiful Leonor Olortegui inspired in the Italian traveler. His love was requited, and the family of Leonor took her back to Lima, away from Iquitos. (North Amazon)
Lyrics:
El quien, me trajo hacia aqui es el Ucayali, con su serpentear
yo surcándole voy, hacia ti mujer, para mi vivir,
yo te he de querer
Mi cantar es asi, para ti mujer con amor,
Contamana te vio nacer, con mucho placer
El quien, me trajo hacia aqui es el Ucayali, con su serpentear
yo surcándole voy, hacia ti mujer, para mi vivir,
yo te he de querer
Mi cantar es asi, para ti mujer con amor,
Contamana te vio nacer, con mucho placer
READING DIARY. OCTOBER 2022
Doing Ethnographies:
Ian Cook, Mike Crang.
Durham University Library, UK 1995
This book is a guide to make ethnographic films or any kind of ethnographic research study of other cultures or groups. It is a step-by-step methodology style of research and filming. It proposed using a sequence of conceptualizing the subject or culture. At first deciding the topic to film. Then trying to figure out who is the researcher and in fact who is the actual subject matter and who is the group. Who is the “culture” that’s going to be researched on. Whether we are neutral, subjective or have some kind of bias we have to prepare for the fieldwork part of the research. Afterwards we must go and scout the area and gain access. We will discuss the visit with the different members of the culture. And build up a relationship with them. Make them feel comfortable, especially if people are not used to European or American visitors/researchers. We have to ask the right questions and to make several interviews. We need to discover who is the leader or leaders in the group, and their rol. The book then discusses filming techniques and approaches we must use. Existing historical photos, anthropological images, film and Video.
Creating an ethnographic work is not like a Hollywood movie with a script. We must follow and research the culture. Makes an analysis, conclusions, do field work, film B rol, interviews, situations, action shots, testimonials, and edit the final work to make a wonderful film
'cultures' have been represented as independent both from how the researcher gained access to and (mis)understood them, and from the ways in which they were produced, reproduced and transformed in the histories and day to day struggles of the people under study (Duncan 1981)
these identities are gendered, classed, and colored and, therefore, cannot be
understood without understanding the histories and impacts of these and other
categorizations.
"Geographers have long been exercised by the problem of defining regions,
and this question of 'definition' has almost always been reduced to the issue
of drawing lines around a place. But that kind of boundary around an area
precisely distinguishes between an inside and an outside. It can so easily be
yet another way of constructing a counter position between 'us' and 'them'"
(1991:28). Doreen Massey,
Ways of Seeing: Berger, J. (2008). Penguin. UK.
The book Ways of seeing was written by Burger, Dipp, Bloomberg and, Chris Fox. It was based on a television show that was very popular. It consists of seven chapters. Four essays use words and images, and three essays are only images. It is now considered revolutionary, and it has a feminist theory. All the essays discussed how we use images in art and in advertisements.
Meaning in the Visual Arts: Panofsky, Erwin, and Benjamin Drechsel. Meaning in the visual arts. Chicago: University of Chicago Press, 1955
Erwin Panofsky’s Meaning in the Visual Arts is considered an important work in art history. His ideas have provoked debate and is a classic for iconology.
Meaning in the Visual Arts has nine essays. Panofsky discusses the independence of iconology. He demonstrates the principles of interpretation of a work of art. He writes about the theories of human proportions, Gothic architecture, and the Northern Renaissance. At the end, Panofsky discusses his own American experiences in the arts.
The most interesting thing to me in this book is his infographic about how to analyze a work of art. He uses three levels, at first sight the meaning literally of what you see, the second reading shows iconography and popular culture and technique. And the last reading brings research to discover the real meaning of the work of art its history, technique and the stories behind the narrative and the iconology within the world of art.
Fred Wilson
Fred Wilson’s Museum Interventions
San Francisco Museum of Art.
An interview-
Fred Wilson remembers when he was in Art school that the professor asked him “Do you want to be part of the black art world, or part of the art world” After school he worked in a museum. Working inside he discovered that can you see and earn from an object of art. And how the object was placed inside an installation he concluded that museums create meaning. Wilson, as a person of color, said in the interview, you must take what it is presented to you but it’s not being examined… it is never being examined. So, what are these things mean? what are they about? what is it not to be included in an art exhibition? Wilson says, “It’s Not being represented.”
When he discovers this, he made artworks to confront the real meaning, to add and to have something called Museum interventions
Beginning in the early 1990s, Fred Wilson shook the museum world with his artistic interventions. At the Maryland Historical Society, he used the conventions of the museum itself to comment on race, with startling juxtapositions such as 19th-century armchairs displayed with slave shackles and a whipping post amongst finely crafted woodworking. His work uncovers inherent cultural biases and disrupts the more traditional way many Americans understand museums.
San Francisco Museum of Art
Erroll Morris
Erroll Morris
Errol Morris finds two versions of photographs taken by British photographer Roger Fenton. It was a scene from the Crimean war in 1850. There were two versions of a landscape with and without cannon balls in the ground. He spent years researching which was the real one and which one was made up, A or B. Or as he writes ON and OFF.
There were two versions of Fenton's "The Valley of the Shadow of Death" to Mark Haworth-Booth of the Victoria and Albert Museum; both are reproduced in The Ultimate Spectacle: A Visual Historyof the Crimean War, by Ulrich Keller (Routledge, 2001).
At the end he travels to the same area where the photograph was taken and shot pictures of cannon balls at different times of day. A colleague pointed out that in the photo stones on the left of the photo were moved down in the ground. Showing that someone walked over and discovered that the original photo is the one without the cannon balls in the field. The intricate results were published by the New York Times.
Dawson City: Frozen Time
Bill Morrison
Dawson City: Frozen Time, tells the history of a collection of 500 films from 1910s - 1920s. These were lost until being discovered buried in a sub-arctic swimming pool deep in the Yukon Territory, in Dawson City. Bill Morrison used these permafrost-protected, silent films, archival footage, interviews and historical photographs to tell the story. The music was created by Sigur Rós and composer Alex Somers. Dawson City: Frozen Time depicts the Canadian gold rush in a town recreating the life of how the original coal and gold rush small town was transformed into a city and displaced.
Giulia Vismara to Everyone (8:57 AM)
This is Hildegard Westerkamp’s web site. She is a composer, radio artist and sound ecologist. She performs, writes, and experiments with soundscape installations. The web page introduction has several sound clips with a very interesting mixture of layers. Professor Westerkamp also lectures internationally and does workshops:
“My workshops are essentially an inquiry into our relationship to place through listening and an inquiry into listening to itself. Conscious attention to the soundscape is like learning a new language and conscious listening and soundmaking is a way of placing ourselves inside the workings of our cultures, societies and landscapes as involved, living participants.
A variety of listening and soundmaking activities offer ways to deepen our relationship to place and to explore what acoustically balanced sound existences might be. Some workshops may be conducted entirely without the use of technology, others may involve recording equipment, editing and mixing facilities, depending on the context and the focus.”
A variety of listening and soundmaking activities offer ways to deepen our relationship to place and to explore what acoustically balanced sound existences might be. Some workshops may be conducted entirely without the use of technology, others may involve recording equipment, editing and mixing facilities, depending on the context and the focus.”
Her work has a mystical-magic side, feminism, and environmental politics.
"Westerkamp's music balances a poetics of sound with social commitments that include feminism and environmental politics. Her compositions are critical enactments of acoustic space....All invoke attentive listening. “Donna Zapf, Beiträge zur Neuen Music, Germany.
"Westerkamp creates new possibilities for listening. One can journey with her sound to inner landscapes and find unexplored openings in our sound souls. The experience of her music vibrates the potential for change.”
Pauline Oliveros,Kingston, N.Y., USA (about CD transformations)
Pauline Oliveros,Kingston, N.Y., USA (about CD transformations)
This artist left me bewildered and I felt compelled to further understand her process. I found an interview here where she describes in detail how she senses sound, how she mixes and manipulates sound, and how she walks around with a ZOOM recording of her environment.
Hildegard WESTERKAMP_PRESENCES électronique 2016
Into the Labyrinth was inspired years later after a trip to India were she recorded every day. Mixing the sound object, the real sound place with background sound and changed recordings. This way creating a more abstract atmosphere, an environment around the sound itself. “A space between the real and the imagined sounds”
At the end of the interview, she appeared in an auditorium with a sound installation and introduced the piece Talking Rain. In this work the rain is loud as time goes by it layers ith other sounds wind and at the end birds and quiet time. The sound piece reminded me of camping in the Amazon and listening to the heavy rain coming down in patterns, with wind for hours. The next morning, I woke up to the sound of birds singing and other animals roaring, squeaking, yelling, and howling,
Sonic wonderland: a scientific odyssey of sound. By Trevor Cox.
Trevor Cox writes a book about the world’s most interesting sound phenomena. He researches sonic wonders of the world in different realms and writes analysis in how we should listen to them. He is an expert sound engineer who works on auditoriums, universities, and concert halls. Cox career and objective was to eradicate unwanted sounds. One day in a London sewer he experienced strange sounds and realized that there is another world of sound. Sounds like he never experienced or understood. From then on, by traveling and recording he discovered sand dune sounds, creaking glaciers, cave stalactites sound, ducks quacking, Dionisius’ cave’s echo, ocean seals singing, and Mayan pyramids echoes sounds. Cox takes us through a world of biology, design, neuroscience and recording systems. He explains in his book how sound itself is made and altered by our environment, and how we react to that sound. His book inspires us to become better listeners to a new world around us.
After researching the work of Trevor Cox, I was compelled to listen to his praxis and lifetime devotion to sound. This video I found is very insightful.
TEDxSalford - Trevor Cox - Become a Sound Explorer
Professor Trevor Cox is a British academic and science communicator, a Senior Media fellow for EPSRC, and is President of the Institute of Acoustics for the 2010-12 period. Cox has presented a range of popular science documentaries for BBC Radio 4, BBC Radio 3 and BBC World Service, including Sounds of Science, Aural Architecture, Life's Soundtrack, Science vs Strad, The Pleasure of Noise, World Musical Instruments, Dragon's Lab, Biomimicry and Save our Sounds. He was co-originator and judge of BBC Radio 4' 'So You Want To Be A Scientist?', a competition to find Britain's best amateur scientist. He has gained worldwide news coverage for stories such as "Does a duck quack echo?" and "The Worst Sound in the World". He has also investigated the World's scariest scream. In addition, he has appeared in features on BBC1, Teachers TV, Discovery and National Geographic channels, and as an expert in news items on a variety of television and radio channels.
World Forum for Acoustic Ecology
The World Forum for Acoustic Ecology, founded in 1993, is an international association of affiliated organizations and individuals who share a common concern for the state of the world’s soundscapes. Our members represent a multi-disciplinary spectrum of individuals engaged in the study of the social, aesthetic, cultural, and ecological aspects of the sonic environment.
This web site contains very interesting information about sound ecology and sound sites all over the world. They publish a journal called Soundscape. I reviewed volume 18. 2019. Sound + Environment: Sonic Explorations. In this journal, the best peer-reviewed papers were chosen from a sound conference that took place in Hull University, Europe. Each essay discusses how sound is recorded in nature, walking in space in remote places and in the biosphere.
Sounding Soil: An Acoustic, Ecological
& Artistic Investigation of Soil Life
by Marcus Maeder, Martin M. Gossner, Armin Keller, Martin Neukom
While moving through or digging the soil matrix, the soil fauna produces noises. Moreover, some animals seem to use the soil as a communication medium, forming a complex soundscape. Land use and agricultural management may have marked effects on the soil soundscape. Thus, the (acoustic) richness of a local soil animal community may serve as an indicator of the functioning of a soil ecosystem.
go your gait!
Artistic Research on Walking & Listening
by katrinem
Recording while walking. We reproduce this individuality almost exclusively in public, where one person’s step rhythm joins in polyrhythm with that of another. While the sound of the rhythm often becomes masked by a city’s background noise, the rhythm can be sensed from the visible motion. Seeing someone’s gait can easily evoke an imagined sound of the step rhythm in our mind
Biosphere Open Microphones (BIOM) –
Towards a network of remote listening points
in the UNESCO Biosphere Reserves
by Soundcamp: Maria Papadomanolaki, Dawn Scarfe, Grant Smith
BIOM is a collaborative project to develop a network of open microphones in the UNESCO Biosphere Reserves, making real time sounds from these environments available on the Locustream soundmap.
Listening In / Listening Out:
Reflections on A Certain Geography Workshop
Held at the University of Hull
by Dr Maria Papadomanolaki, Senior Lecturer, University of Brighton
‘A Certain Geography’ is a listening workshop in the form of a telematic soundwalk. A roamer sends a live audio stream from a remote location to an audience listening in a different space.
The workshop poses questions about listening to in situ and remote soundscapes: How do we listen solitarily and in collaboration?
An Uncomfortable Audio Ethnography– Sound and Politics
in the Evolution of an Acouscenic Listening Approach to
Softday’s Sonically Engaged Art Practice
by Mikael Fernström* and Sean Taylor**
Research about Sofiday. This paper explains how Softday’s practice of Acouscenic Listening may be utilized as a methodology for the Creative Soundwalk, thus creating conditions for a participatory sound art praxis.
Giulia Vismara to Everyone (9:13 AM) Acoustic Communication. Barry Truax.
The book research sound as we perceive it, in communications, in environments. Sound as it is perceived in cities, mixed sound, sound in electroacoustics, recorded sound and manipulated mixed-sound.
I wanted to hear Barry Truax himself, Explain his process, insights and his venture into sound since the 70’s in Canada. In this video he discusses our visual culture and the culture of sound. How time itself serves a different roll within visual culture and completely different purpose in the sound culture.
Barry Truax: Composing Music with the Environment (Lecture) (Sonic Acts XIII, 2010)
Sonic Acts is a biannual festival at the intersection of arts, science, music & technology.
Barry Truax was one of the members of the World Soundscape Project in 1973 at SFU when it pioneered the study of acoustic environments and published the Vancouver Soundscape recordings and booklet. Since then, this work has achieved an international profile through the World Forum for Acoustic Ecology. Truax’ artistic work has included the creation of soundscape compositions that create musical pieces using environmental sounds. Barry will trace this history and play examples.
Barry Truax (CA) is a Professor at Simon Fraser University. He has worked with the World Soundscape Project, editing its Handbook for Acoustic Ecology. As a composer, Truax is best known for his work with the PODX computer music system. He also developed the first-ever implementation of real-time granular synthesis, in 1986.
Acoustic Communication
By Barry Truax
Simon Fraser University Burnaby, British Columbia, Canada
Ablex Publishing Corporation. Norwood, New Jersey. 1984
Barry Truax uses the term "acoustic communication" because it is the most general way to describe all the phenomena involving sound from a human perspective. For those involved in any of the audio-related disciplines, Acoustic Communication offers an innovative way to approach sound that will become a deeper understanding of sound and the relationships between sound, the listener, and the environment.
In the first chapters of this book, there is a discussion about the signals processing models used in acoustics with a communication approach. Later it compares with insound, and the behavior sounds as a system of relationships. Truax says that an accurate recording of a sound is often less successful in evoking a sound memory than a “skillful simulation that simplifies and idealizes it” Traux also concentrates on the human voice and on human sound-making. Truax develops a more theoretical survey of the three major systems of acoustic communication: speech, music, and soundscape. “We find that sound is in some way ‘organized’ and that through the structure of this organization, meaning can be inferred.”
To obtain “soundscape competence” you have to understand the elements of the sound environment and their context (within soundscapes) and require a level
of competence from the listener. The same level of competence that is needed to understand syntax and paralinguistic structures (in language), and compositional rules (in music).
In today’s world, we live in a “sound pollution” environment. An urban soundscape., an ideology of noise. Truax argues that designers can consider the sound of their device in the context the place within—the soundscape. This “acoustic design” uses Schafer’s philosophy that we are responsible for the world's soundscape.
electroacoustics and electromagnetic broadcasting ( radio) Electroacoustic recordings make sound into an object which can be bought or copied. With electromagnetic propagation of electroacoustic signals, the soundscape of any environment or say a room can be identical as in another part of the world. As a phenomenon, this “objectification” and commoditization of sound becomes a psychological effect of the virtual deliverance and perception of sound. Human listening habits are changing, and the new levels of control over the soundscape, explain electroacoustic concepts. They control processes such as signal dynamics, and frequency response and oscillators offer variables.
Truax describes a detailed case study of audio media. “The radio.” Describing the relationships between the form and content of radio broadcasting, the author describes the techniques used in radio to control audience attention and promote distracted listening.
In the last chapters of the book, there is a comparison between the acoustic community as a Market. How “Musaq, or Moozak” proliferated throughout the world, in malls, and offices, and he compared it to the uses of electroacoustic technology such as sound documentation and soundscape archives.
Truax describes himself as an Electroacoustic. He researches electroacoustic and electromagnetic technology. These are changing the soundscape, and our relationships with it. The two technologies produce a new generation of equipment, mobile, wireless audio/visual devices, and high-tech LCD projectors. With this equipment the human being will be able to listen to any sound, any recording, any TV, or radio station—anywhere, anytime. This could impact society in ways we can’t imagine.
“How do we reinvigorate the listener’s interaction with the
environment through listening; how do we design our
soundscapes on a functional, human scale and how do we distinguish
the net gain offered by technology from its hype and oppressive aspects?”
*Addendum to required reading
ARTIVISM
Daniella Poch & Arcadi Poch
Carpet BombingCulture, UK. 2018
FRANKTIVIM,
SONOFABITCHIZM,
FUCKTIVISM,
WHATEVERIZM
Artivism is a compilation of thoughts and images that represent protest the book is about people who have placed the trust in protest as a form of happening.
Spy I’m not a real artist district comes for us by the venue to do activism he becomes a rebel as art in closest the actual activity and itself independently subsidized by the artist the evidence May but true is no art without protest descent or resignation in this book. The artist presented an act of dangerous areas and works in the streets humanizing the city the politics of critical thinking. Jorge Rodriguez was born in Cuba and raised in New Jersey. he concentrates in identity and semiotics to reverse to decipher messages manipulating mass media. in 1980 in New York City . He made a movement culture fan they rebelled against mass consumption and advertising. I said counterculture the same projects that he made with urban intervention in Barcelona some new works in Buenos Aires could also be called for “ethic activism” In 2008 he made a giant, several hectares, an Obama portrait made of colored sand.
Floating Utopias Lunacy Subverting Reality on a Grand . SWOON
Celandine, the artist makes interventions through the arts world and she works with people she meets and becomes they become the source of inspiration for the linoleum prints. Her most memorable project today is Miss Rockaway I’m either a collective of a fleet of rests with disregarded materials recycled objects. She went from Minneapolis to New Orleans by the Mississippi River . She stopped every day different ccommunities to share and rebuild a raft’s with recycled materials. It was like swimming cities and in the backseat of the Hudson River she also made another raft series. Another one in the Adriatic to Venice.
Tickling reality underbelly. SPY
Spy is a Madrid based artist. He uses conceptual urban areas and he
acts with a artistic sabotage play, with contradictory images and situations of against each other His mural “CRISIS” was made with € 2000 two cent coins in a very difficult time of economic crisis. “I need to make a public dialogue among all the viewers in the mist of nowhere and everywhere.” In a collective in Barcelona, he worked with
Leo martin who teaches art and politics and influences the group.
Sing Mordeza’s made posters of head shots with giant mouths screaming it’s a form of storytelling and “urban speculation” as the manifestation of unemployment in Barcelona.
And white suited Hair Guelled Dude Reverend Billy and the Church of Stop Shopping He appeals to the multitude as a preacher on the street wearing his dangerous and unsustainable consumption. A son of a bitch for a day, The Yes Men,
The collective impersonates businessmen and distorts the messages at public or media events. In the Down chemical company the Factory had a gas leak that killed many people. The reverend impersonated a businessman and proposed restitution.
Under wearing the Urban Spiderweb. Santiago Cirugeda
He plans urban intubations all over Europe by using civics of construction, administrative bad practice, and injustice in the public space. He is a notorious architect an activist in contemporary social and participatory architecture . Thecforte Ventura is a project in the Canary islands building equipment in large sculptural structures using community work and recycling.
Krysztof Wodczko.
The vehicle project it’s a derivation of the shopping cart associated with homeless people. Krysztof came to New York from Poland and designed these new houses within structural changes from the original supermarket shopping car. His modification assembly inclusive had a bed, storage, shower, sleeping space. The project does not solve the homeless situation but he poses and philosophical stand against this reality.
Stories in Cement. Isaac Gordal.
Isaac Cordal places miniature figures and sculptures in chosen locations to expand peoples compassion the organization of these figures reflect our own behavior in congregating and living, communicating and evolving .
Evolving around with trash. Art is trash. Francisco de Pajaro
Artist is from the south of Spain who was tired of going to the galleries in London and Barcelona to no avail . This situation put him in a depressed state. He investigated doing sculpture and urban intervention in the streets using the street as a gallery. After painting many years in the streets of Barcelona his work gained popularity.
Navigating the Shit. Boris Hoppeck
German born Boris Hoppeck moved to Los Angeles and produced interventions he uses popular iconographic in rafts. He also planned an installation with excrement in Barcelona where people walking by could not avoid to step on it this was done in a great commercial wealthy site.
The Selective Cleanup Alexander Orion
Orion is a graffiti artist from Brazil, he painted 3500 skulls in the São Paulo tunnel train station.
A powerful response to the oil landscape ,splash and burn.. Ernest Zacharevic.
Ernest worked on interventions about the plantations in Sumatra, Indonesia. After researching the impact of this industry, he made painting, murals ,sculptures and interventions and conceptual paintings in poor neighborhoods.
Political smoke on the tragedy of democracy. Filippo Minelli .
Filippo researches relationships between perception of digital versus natural or real landscapes and the impact of urbanism and architecture include struggling over identities. In Mauritania he painted the word “democracy” on a warship that was abandoned. The contradictions of these wordplay offered an irony of the place.
Vandalism Aesthetically Reworked. VOINA
the name Voina is Russian for war. This collective has been arrested many times. At one point this collective was bailed out by BANKSY who paid the amount of money. They have made innumerable aggressive interventions, for example:
Cassok in Action
Draw Bridge asset
execution in the supermarket
fuck for their puppy bear
sacrifice by Alex classes so now I don’t want it
24 Horns on Love street. Ada Vilaro
Ada does performances of this collective durability for the passer by in the streets. the public was present 24 hours in this public places with their families in Chile. Community members had written signs and they carry them all over as part of the intervention.
Unclassified Undercover Urban Adventures. Jeff Stark
Stark started with a weekly email sent to many groups in New York City called “nonsense New York City.” then it became sort of a guerilla sets of events, pranks, movies, bike rallies, Puppet shows. And Joe’s special dinners. He became an agitator for the secret dinners and Theater at the same time of the world nations.
Rocking with the Core. by Chim Pom
Chim Pom sounds like penis in Japanese. They are an art collective; is sort of the “infant terrible” of the Japanese art. They are ultra-subversive. For example in super rats it was done in the Shibuya district which was swarming with rats. They called the rats they caught many and dissected them, painted them yellow and like a Pikachu and stitch them throughout the city. They also made very large yellow rats . In another intervention they made a hole near a wall between the Tijuana and USA and proceeded to confront the idea of crossing the border.
A superhero for President. Superbarrio Gomez and his super friends .
Marco Roscon, since 1985 represented people and stood up for their housing rights. After an earthquake he appeared as a masked wrestling hero; he organized a collective with 50,000 families and 600 barriers to gain house rights. his activism used humor and parody to ridicule power.
The Polar Bear and the Bomb. Mark Jenkins.
He is an arch-provocateur and disruptor of sensibilities. with the use of hyper-realism. In 2008 while in the capitol building he dressed up as a polar bear carrying banners that had messages of love green peace, more ice /less oil
60,000 Shots. Wafal Bilal.
Iraqi Bilal known for provocative videos suffered the war consequences before moving to another country. Still using as intervention domestic tensions in 2007 he used the WebCam to do an interactivity with 60,000 shots sent to 128 countries.
I love tank story M 24 pink Chafee. Marianne Jorgensen.
Marianne is a knitting artist who works and teaches kids to use her knitting skills to get together to do installations. she was able to organize the making of a very large blankets to cover a 1945 War tank. She used historical weapons of war in Copenhagen to thousand 66 I love Thang story M 24 pink Chafee
Marianne is a knitting artist who works and teaches kids to use her knitting skills to get together to do installations. she was able to organize the making of a very large blankets to cover a 1945 War tank. She used historical weapons of war in Copenhagen to thousand 66 I love Thang story M 24 pink Chafee
The Colors of War. Ralph Ziman
In Africa they have 70 millions of AK 47 Ralph Ziman and his ghosts are a phantasmagorical installation. Zimbabwean artist crafted the replicas of the guns by sewing together many color beads they stitch them together. Ralph then placed the people in the project with the guns and made several photo sessions. These were exhibited in Cave Gallery.
They Sound of Revolution. Filastine
Filastine gets the most interesting sounds and compositions from conflict marginalization darkness and oblivion. As a punk maximum “no future” without an artistic creativity. Today he works with a , Indonesian Nova; composing vocals and to do urban intervention with sound. An act of nuclear revenge Plan C . Eva Mattis, Franco Mathes, Ryan Doyle, Todd Chandler, Todd Seeke, and jeff Stark; these artists plan to enter the Chernobyl exclusion zone. In 2010 they went inside and collected metal parts and made a large sculpture in Manchester called “The Liquidator”
The Academy of Artivism. John Jordan.
And the and the laboratory of insurrectionary imagination. These laboratories is a space to explore and create new forms of disobedience. “creative activism” is there a Motto. They want to change the world. Their laboratory is a form of insurreactionary imagination of their social movement. Clandestine insurgents are now living in a vast marshlands and they tried to stop the construction of an international airport in Brittiny
The hotel with the worst view of the world. Banksy
The hotel was chosen Banksy the world of hotel play of the Waldorf Astoria is located in a tragic and strategic place in Bethlehem this is a provocation an initiation to dialogue and an opportunity for camaraderie and good will. “Our Palestine management and staff offer especially warm welcome to young Israelis who come with an open heart.” Banksy.
A whole Heap of beauty and stories. Peyac.
Peyac’s art work is about surrealism urban and social art. He rethinks conceptually by making a watercolor in a pane in window in Hong Kong. which question the society in permeability of mainland China and and bleed political structures a heap of beauty and stories Pejac’s question about the society in permeabilityand bleed political structures.
So Far so Good. Vince
Vince work is highly symbolic aesthetic construct grounded in a critical we’re all consumers society. his figures painted on the walls may be realistic, but he uses a surrealist style and conceptual art. his works have a negative commentary in the world using with soldiers, police uniforms with bird heads, and naked women.
Could Really Do Without the Apocalypse Righ Now. ESCIF
ESCIF is a respected muralist doing urban conceptual art is a Valencia, Spain. This artist serves the community at large he has an anti-colonizing spirit. In an intervention at a deforestation of Mount Olivet in Italy. He planted there 4,700 trees .
he said, “Art is about expanding peoples consciousness experimenting limits curiosity and search” “They tried to bury us but they couldn’t they did not know we were seeds”
ROC BLACKBLOCK
Rock has been active in Barcelona. his background goes to the cities anarchist, social mobility, the recovery of the use of public space, free education projects, the anti-fascist street struggle, and the recovery of the historical memory. he started designing anti-fascist pamphlets and propaganda, he studied graphic design and after he graduated he completed several large posters, and he discovered stencil and used it for graffiti all throughout the city. He’s anti-stand went against the new novo Nazis in Spain. his popular was a large mural in Barcelona a union of the city for social unrest .
Aleg Pull Trashing Cesky
Cesky is the Czech Republic first reality show with Cusack and Philip Runde made a documentary around the fictional hero hyper marketing construction in Prague they play with the popular dream of having a beautiful large market kind of market that was never made under the Russian government they made this market and many people 200,000 flyers were made and sent to homes. Afterwards the people knew that this was a false documentary, and a mob of 5,000 people charged them; hoping for the construction of the hypermarket. they argued at the end that this documentary was not true. “is anything but deception behind the impossible engineering and building of this hypermarket but it’s the sad reality in Prague”