Work by Jeremy Bolen, Alan Cohen, Adam Ekberg, Myra Greene, Shane Huffman, Barbara Kasten, Jason Lazarus, Aspen Mays, John Opera, Jason Reblando, David Schalliol, Matthew Schlagbaum, and Adam Schreiber.
DePaul University Art Museum is located at 935 W. Fullerton Ave. Reception Friday, 6-8pm.
Curated by Lucas Bucholtz with work by Carl Baratta, Zack Wirsum, Lauren Ball, Nathan Carder, Mariano Chavez, Karolina Gnatowski, Pedro Munoz, and Mindy Rose Schwartz.
SideCar is located at 411 Huehn St., Hammond, IN. Reception Saturday, 5-10pm.
Work by Paulien Oltheten, Odette England, Atget, Garry Winogrand, Sohei Nishino, Simryn Gill, and Vito Accondi.
Museum of Contemporary Photography is located at 600 S. Michigan Ave. Show opens Friday.
Work by Harvey Moon, Nick Briz, Yaloo Pop, Jason Soliday, William Robertson, Daniel Rourke, Incidental Music, shawne michaelain holloway, Kevin Carey aka Yung Pharaoh, and Chris McLaughlin.
TRITRIANGLE is located at 1550 N. Milwaukee Ave. Fl. 3. Reception Saturday, 7pm.
Work by Slang, Zore, Ish Muhammad, Hebru Brantley, Uneek, Statik, Brooks Golden, Chris Silva, Your Are Beautiful, Oscar Arriola, and more.
Chicago Cultural Center is located at 78 E. Washington St. Reception Friday, 5:30-7:30pm.
Work by Calvin Ross Carl, Josh Reames, and Maria Walker.
LVL3 Gallery is located at 1542 N. Milwaukee Ave. Reception Saturday, 6-10pm.
Work by Nick Bastis and Anthony Romero.
Defibrillator Performance Art Gallery is located at 1136 N Milwaukee Ave. Reception Saturday, 7:30-10pm.
Work by Cleav’d Cleaver, Blood Transfusion, Piss Piss Piss Moan Moan Moan, and Billington/Walker.
TRITRIANGLE is located at 1550 N. Milwaukee Ave. Fl 3. Reception Friday, 9pm.
Curated by Tempestt Hazel, with work by Jeff Austin, Rob Frye,Ramah Jihan Malebranche, Michael and Yhelena Hall, Viktor Le and Stephen Lieto.
Terrain Exhibitions is located at 704 Highland Ave., Oak Park. Reception Sunday, 5-8pm.
Work by Hedwig Eberle.
Corbett vs. Dempsey is located at 1120 N. Ashland Ave. Reception 5-8pm.
Anna Friz and Coppice performed in their audio installation at Tritriangle on 5/25/2013 in Chicago, IL. The two installations and two live performances occupied the gallery as co-existing organisms.  Each stemming from Friz’s and Coppice’s own larger overarching projects, Friz’s Nocturne and Coppice’s A Vinculum Variation are iterations, though it becomes clear that these iterations are not repetitions, but manifestations of differences in space, time, and materiality. The artists filled the spaces above my head and below/around my feet with sounds produced by other bodies: people, instruments, apparatuses, and radios. The two installations created the terrain in which the live performances inhabited. The earthy landscape, coupled with a cloud of respiration, constituted a world of transmission that enabled relationships to form in and between bodies.
In the space of Tritriangle, tiny blueish-silvery lights floating in air illuminate 82 small silver radios suspended from thin silver wires, a cloud of radios. In one corner of the space is blue light; in two other corners, yellow-gold illuminations. The blue corner holds three hand-built radios by the inventor George Kagan, an accordion, a harmonica, a chair, a mixer, and other sound equipment. Two radio transmitters fixed near the ceiling, send signals on two different frequencies to the 82 suspended radios. The radios, hovering at different levels around my head, emit gentle sounds of an accordian-played melody, breath, and radio static. The golden-brown corner contains a chair, an accordion, a box. Another corner contains a set-up with tape players, speakers, and an inductive mixing table with devices that send signals to the speakers lining the room close to the floor. These speakers emanate sounds of breathing, bellows of an accordion, air passing through processed reeds, the crackling paper inside a shruti box, pressure cuffs, and a funnel. In a third corner, golden light illuminated that illuminates a metal funnel.
A Vinculum Variation; Coppice’s Archived Air Contours
For the installation and performance at Tritriangle, Chicago-based duo Coppice (Noé Cuéllar and Joseph Kramer) created a listening experience that compelled the listener to navigate and inhabit the space of the gallery in a fluid way. Before the performances, the audience could walk freely around the space and stop to observe what was emitting from the various speakers lining the room. During the performance, the audience stilled and the artists and the audio material activated. Cuéllar, playing the accordion and free reeds, moved his own body around and through the space, while Kramer used two custom-built apparatuses: his customized inductive mixing table and customized cassette tape player. Kramer, kneeling on the floor, using this table, which “redistributes the sounds of the Vinculum archive as they are played back through small speakers resting at different locations on its surface,”  changes the location from where sounds poured. The cassette tape instrument Kramer designed and created is able to “make a record of the sonic space that also reproduces the recording from moments ago while simultaneously recapturing its own output.” 
These devices together create space and time that shift and refuse to remain static or linear. The changes in the part of the room that contained the raw recordings from the Vinculum archive created a constantly changing environment of breathing; audio materials from their ongoing-archive emerged in the space and surrounded the audience with breath. Cuéllar, changing positions throughout the space of the installation, used the accordion’s keys and bellows to breathe sounds throughout the room. Coppice’s contribution to the installation as a whole grounded the audience and the space itself creating a material terrain the viewer could navigate and explore.
Coppice’s installation and performance at Tritriangle emerged from its ongoing project since 2010Vinculum, a constantly shifting index of sounds, bodies, and space that involves isolating and highlighting particular sounds that are specific to Coppice. Sitting down with Cuéllar and Kramer in their studio, they describe their interest in the “behavior of sounds”  and the ways in which different sounds demand a different kind of listening. However, Coppice is not necessarily interested in making the listener more aware of the plethora of quotidian sounds that may surround her. Rather, the listener is encouraged to connect to the collection of sounds Coppice draws from to create their compositions. The work is deeply self-referential in its consistent pointing back to itself, its own self-reflexivity. The recordings, which are used to form Coppice compositions, are stored and categorized as specimens the listener can study and discover within the work. Coppice’s archival process, which involves recording the sounds and storing them in built containers or vessels – hand-sewn pouches or built wooden boxes (for Vinculum Specimen Edition), produces a peculiar meditation on the nature of cataloguing. What is capable of being stored? What should be saved? The individual entries/specimens can then be accessed and experienced by the listener in a multitude of ways. Coppice encourages the listener “to play the discs simultaneously on repeat from multiple players when possible.”  However, the listener has the ability to change the order and method of playback to create her own way of experiencing the archived sounds. The archive is not static and is rather presented as a collection that is open to change and re-arrangement; it is an “open composition.” 
Coppice describes the sounds of Vinculum as quiet and having to be found from a particular point of view. Because Coppice is concerned with each sound’s specific experiential condition, the recordings in the archive capture the particular spatial arrangement necessary to recognize the sound, making the archive one of space and the way the listener and the instrument inhabit space. Many of the sounds Coppice finds, makes, and records relate to the human body and its rhythms. The breath that passes through a tube and the air that traverses through the bellows of an accordion or pump organ indicate the necessity of the body to the production of that sound, whether it is the musician’s breath, hands, or feet interacting with the instrument or apparatus. They claim that it is the “air on the edge of things”  that makes its way into the auditory. Coppice’s sounds that insist on the “air on the edge of things” found themselves in conversation with Friz’s dreamy cloud of radio breath that floated above their audio terrain.
Nocturne; Anna Friz’s Radiogenic Objects
Canadian sound and radio artist Anna Friz, who is currently based in Chicago, performed second, immediately following Coppice, in the installation’s landscape. While the suspended radios picked up the transmission of an accordion-played melody, Friz began to play that same phrase in the middle of the space. The recordings emanating from the tiny radios and the live instrument in the installation mingled together in a sea of sounds and lights. When the recorded melody ended, Friz used the live accordion with its bellows to create a drone, filling the space. At one point, Friz got up, put the accordion down, turned on the handbuilt radios, picked up the harmonica, and began to play the instrument, sending it through the transmitters to the radios filling the space above my head.
Nocturne is an iteration of her radiophonic installations that began in 2006 with You are far from us, a project she has been transforming since its premiere at Radio Revolten Festival at Ärtzejaus in Halle, Germany. The work explores the notion that radio technology is not disembodied, and that it actually holds within it traces of bodies and perhaps even allows us to overcome distance between bodies. Friz materializes the radio’s possible embodiment through voice and its breath, corporeality, and emotion. Breath and radio are intimately linked; Friz describes the phenomenon of the breath and radio static as sharing the same frequency range – a fascinating aspect of radio’s embodiment. She also describes the radios and their tendency to drift from their frequencies as a precarious bodily situation, not unlike human and nonhuman animal bodies that are subject to their environments and situations. The radios are in relationships with each other, though mediated through the multiple radio transmitters that populate the ceiling of the space.
The first manifestation of the installation You are far from us involved four transmitters, 50 radios, and 5-10 hand-crank Grundigs. This installation focused on the disastrous human condition and the ways in which it is transmitted and created through radio. In her statement for You are far from us, Friz asks the question: “What nearly inaudible signals, transmitted in moments of intensity or crisis — what do people seek to transmit, in a moment between the intake of breath and the breath held, waiting, in tension?”  Further, in turning to the specificity of the radio, she states that “[b]uilt on breath and other bodily exclamations typically absent from regular radio broadcasts, the radios operate at the limit of their capacity to transmit emotion.”  This interest in the radio as entity and performer itself is something Friz has been working with, an evolvement of her earlier work which conceptualized the radio as containing within itself people and that “the voices emanating from the radio were the voices of the little people who lived inside. Turn on the radio, the little people begin to talk, change the station and they change their voices. I imagined the radio people waited inside while the radio was off, ever ready to perform at the click of the dial.”  Now, she conceptualizes the radios themselves as the performing entities, not tied to a necessarily anthropomorphic view of the world. This is not to say that the radios are entirely outside the realm of human experience; they experience the precariousness of the world in perhaps a similar way. They tune in to frequencies and then drift off, floating and locking into a new one — a new world experience.
Friz describes the radios suspended in the floating cloud as sleeping, experiencing REM cycles, taking in the day and processing it through dreams. Nocturne at Tritriangle is an outgrowth of the section “Nocturne” from Friz’s previous installation You are far from us, with the section’s intent being “stilling the breath and relaxing [the radios].”  Friz emphasizes that she chooses to privilege the auditory over the visual in the installation because it helps the listener “focus attention on moving through space”  and instills the notion that the listener is a sensing body. The stilling of the breath and the radios drives home this recognition. When limiting one sense, other senses heighten. The viewer is no longer dependent on the two orbs situated in the front of the head as guides through space. The audio creates spatial relationships that enable the viewer to navigate the space at her own leisure. This navigational drifting relates to the radios’ own drifts. The radios experience the phenomenon of capture effect, thus causing them to detune and find a new channel to occupy. For Friz, the detuning isn’t necessarily about interference, since the notion of interference corresponds to a cybernetic theory of communication with involves fidelity to a message. Rather, she is interested in exploring “fields of influence.”  The radios’ detuning don’t mark a deficiency or breakdown. Instead, the tuning into different frequencies seem to reflect human and nonhuman animal choices to take a turn, go down a different path. The suspension of the inhale,  creates the space in which life is lived, with all of its precariousness.
Coppice and Friz created an environment in which the audience and the device could all breathe together, exchanging exhalations and inhalations actualizing a cloud of respiration. Focusing on the breath allows us to recognize that we are constantly exchanging material from our own bodies with the world. Though, this body in its continual state of exchange shows us that the molecules in our own bodies aren’t static and can’t always belong to us; these molecules are only finding themselves to exist within us for a passing moment in time. “The breath does not belong to the self. It enters and exists of its own accord. It inhabits the empty space of the lungs for brief periods and the same molecules and particles may never enter again.” 
 Personal conversation with Anna Friz and Coppice at the performance, May 25, 2013.
 Coppice, A Vinculum Variation, http://www.futurevessel.com/coppice/work/performance-installation/a-vinculum-variation.
 Joseph Kramer, “Episode 31: Porous Notion: Index Fragments and Interpretation,” Radius (Oct. 2012): http://theradius.us/episode31.
 Personal interview with Coppice, June 5, 2013.
 Coppice, Vinculum, http://www.futurevessel.com/coppice/work/recordings/vinculum.
 Personal interview with Coppice.
 Anna Friz, You are far from us, http://nicelittlestatic.com/sound-radio-artworks/you-are-far-from-us/.
 Anna Friz, Who are the people inside your radio, http://nicelittlestatic.com/sound-radio-artworks/who-are-the-people-in-your-radio/.
 Personal interview with Friz, June 8, 2013.
 Friz describes the inhalation as suspension.
 Meredith Kooi, “Aristophanes’ Hiccups and Relational Spasms,” given at Location/Location symposium organized for Field Static: A Group Show About the Object, Co-Prosperity Sphere (Chicago, IL: June 6, 2012), 6.
Work by William Pope.L.
The Renaissance Society is located at 5811 S. Ellis Ave. Reception Sunday, 4-7pm.
Work by Suara Wilitoff.
Document is located at 845 W. Washington Blvd. #3f. Reception Friday, 5-8pm.
Work by Hiba Ali, Evelin Garza-Luna, HaeJoo Jung, Eunice Kim, Robin McKay, Peter Nichols, SunMin Park, Nathaniel Stone, Liang Su, Sarah Verhoeve, Blanche Vivian Villarouge, Jason Williams and Darya Zorina.
Tritriangle is located at 1550 N. Milwaukee Ave. Fl. 3
Work by Dan Paz.
PSA Projects is located at 2509 N. Lawndale Ave. Reception Sunday, 8-10pm.
Work by David Tanimura.
Firecat Projects is located at 2124 N. Damen Ave. Reception Friday, 7-9pm.
“NO MEDIA is an open [sign up] improvisational realtime/performance media art event. Participating artists are randomly matched in sets of 3 && given 10mins to perform w/&& in re:to each other. Poets + experimental dancers + free jazzers +
No Media At The End!
[NO documentation allowed. It happens once && in realtime.]
NO MEDIA happened March 16, 2013 at TRITRIANGLE, the art space that formerly held Enemy Sound, in Chicago, IL. Developed out of a GLI.TC/H Working Group, the first NO MEDIA happened at GLI.TC/H 2112 on Friday, December 7, 2012 at TRITRIANGLE. Described in the schedule as “Proposed by Jason Soliday on the Working Groups: NO_MEDIA is a performance framework that goes from zero to zero! Participating performers will start with blank slates, build sets from scratch. No preparation allowed. Zeroed out knobs. No strings on your guitar. No presets. Everything done in realtime from beginning to end. Everything that happens exists only in and during the performance :: “Raw Real Time.” After ~ 10 minutes you will delete all assets. It happens … and … then it’s gone …”
On March 16, 2013, I participated in it, but that’s the only detail of the night I’ll give. For, there is no documentation allowed. After the event, I sat down with [dis]organizers Jason Soliday, Nick Briz, and Jeff Kolar via electronic-mail. I wanted to ask them: Why a NO MEDIA new media performance event? What is considered documentation? What does it all mean??
And then, here I am, writing for the “media” about NO MEDIA.
MEREDITH KOOI: And, of course, no documentation of the night, though as Jason brought up on Saturday, is this [the writing of the article] considered documentation too? Discuss.
JASON SOLIDAY: I think questions are allowed.. I would say that if were going to stick to this no documentation thing, that we can talk about what could happen, or impressions of how the night went as a whole, just not specifics of what actually happened… so no “———————————————————————————.”
The whole First-rule-of-NO-MEDIA-is-no-one-talks-about-NO-MEDIA-thing is something we could maybe talk about too. I think Nick and I at least have somewhat overlapping, but different interpretations of the why of that…
JEFF KOLAR: I’m right on with Jason on this one. Particularly from the perspective of us [dis]organizers, it might be best for us to specifically address the format of the event instead of the specific performances. Plus, I am personally less interested in which performances were good or bad, and more interested in the arc of the evening; the organism it creates.
That said, I think talking about NO MEDIA is okay. It’s interesting how flexible and relative the “no documentation” rule ends up being, particularly from an audience perspective. It places an interesting constraint on the attendees of the event and activates their participation to a certain extent.
NICK BRIZ: echo above sentiments
xcited for chatz
MK: Well, first of all, I’m wondering what you all consider to be actual documentation. First-person accounts? A photo of the —————————————- from the evening? Dreams? Collaborative work that grew out of the session? And, what was the motivation behind choosing to not document the sessions?
NB: Great place to start
Quick disclaimer, as Jason mentioned before, I think the three of us have overlapping (but not identical) motivations going into this, so I’m speaking for myself here (and only partially for Jason && Jeff ^_^)
The day before the show someone posted on TRITRIANGLE’s page asking if it would be broadcast online, to which I responded:
“Hey ———, it won’t be broadcast online. Myself && Jason && Jeff are all involved in organizing different events/initiatives which we broadcast online + generally prefer to stream stuff, but the impetus behind NO MEDIA is a bit different/specific. We want to create a localized space for experimentation which is low-pressure. For this reason we purposefully don’t broadcast, in fact one of the ‘rules’ (listed above) is no documentation of any kind.
We’ve noticed sometimes the pressure of documentation can compromise some of the risk taking involved in improvisational performances. We’ve also noticed that (sometimes) folks perform specifically for the documentation and not so much the live setting. This isn’t specifically good or bad, we just want NO MEDIA to be a space specifically for in-the-moment happenings where folks can take risks without worrying about the comments it’ll get on Facebook the next day.”
So this is more or less where I’m coming from w/re:to the ‘no documentation’ rule,  remove the pressure/distraction that often comes with documentation  emphasis in-the-moment focus: w/your collaborators in that space/time.
I’m also very interested (romantically) in community + most of the events/organizing I do is motivated by this, so I’d actually be very xcited if collaborative work grew out of one of these sessions. So no, I wouldn’t really consider that documentation Nor would I really consider bruises, first person accounts, etc. To be honest, for me the rules are similar to the Dogma95 rules, in that I’ll try my best to enforce it (for the reasons stated above) but in the end I’m less interested in being dogmatic about it. There’s something fun about the idea of a photo that sneaked out or a shady vine vid (again, so long as the in-the-moment ethos isn’t compromised).
JK: Echo that disclaimer…
And jumping off Nick’s statement:
> remove the pressure/distraction that often comes with documentation  emphasis in-the-moment focus: w/your collaborators in that space/time.
I would like to add:  give agency to the audience.
One of my motivating interests behind the “No Documentation” rule is also to think about roles the audience plays in concerts/performances/events. I’m with Nick on this one, very interested in a rule that is clear yet flexible enough for performers and audience members to follow/break in [un]expected ways. If we were really strict about the “No Documentation” rule, we could ban use of all media (i.e. collect cell phones pre-entrance, radio-wave body scanner, destroy writing utensils, etc.). Jason, Nick, and I often take these “what ifs” to extreme/absurd levels; perhaps that’s how we came up with some of the rules for NO MEDIA in the first place. How far is too far? Why is it too far? I’m more interested in what audience folks consider “Documentation” of an event in this digital-device era, as it seems to get slipperier and slipperier as more [media] tools become available.
Also, one thing that seems special with NO MEDIA is that the audience/community really helps shape the performances. Laughter certainly seems to impact the performers. Audience chitchat often becomes the “intro” for group’s sets. I view the audience an active agent in NO MEDIA events.
And also interested in how the “No Documentation” rule/constraint actually creates awareness rather than preventing it.
JS: >And, what was the motivation behind choosing to not document the sessions?
A while back I remember my friend Witch Beam posting something along the lines of why does everyone feel the need to post everything to the internet? Why can’t somethings just happen and then be over, stay secret? So, it was partly in response to that, and a reaction against New Media/Internet/Noise culture’s common tendency to release ever last thing it creates out into the world, that glut of stuff we all keep making and posting to Tumblr, Vimeo, Soundcloud, and the rest.. Don’t get me wrong, I’m as much a part of it as every other “new media” artist, but I really wanted NO MEDIA to be about the moment, be here right now, it’s happening, then it’s gone. Telling everyone to put their phones away and stop recording and taking pictures was just one way to make that explicit.
I think what people do with that experience afterwards will be the interesting part.. Hopefully new, unexpected ongoing collaborations that wouldn’t have happened if people had not been thrown together during a NO MEDIA event will start appearing! Or perhaps someone sets off on some new direction with their work because of something at one of these events. I hope we’re setting up a space with NO MEDIA that provokes that sort of thing. That’s a thousand times more interesting to me than yet another cell phone video on YouTube.
That being said, I’m guilty of thinking “I wish someone was recording this, I’d like to hear it again” a few times during the two NO MEDIA events we’ve done so far.. but then that just means it was good, right? Hopefully the people that were performing at those points were thinking the same thing too, and are now hard at work on something new inspired by it!
MK: In thinking further about documentation and the space/site/time of performance, does NO MEDIA have any particular kind of performance it’s focusing on? Is it geared towards particular ways of working or does what you all are saying about the site of performance apply to all different ways and mediums of performance? I know Jeff has mentioned interest in hosting NO MEDIA in different venues thus drawing different artists and crowds – is this ideal for the interests of NO MEDIA? Do you foresee particular audiences and artists working in various other mediums responding to the rules in vastly different ways? If so, why do you think that might be? Would that signal some sort of success (I guess if that’s an appropriate word here at all) of what the rules are doing? Does this at all matter? Is there any particular goal that the rules are trying to achieve for art-making as a whole? Is this particular to Chicago?
(That’s a lot, I know, so, run with what ya like.)
JS: I would hope so. At its core, NO MEDIA is just an improv lotto, which really isn’t anything terribly new in the sound world. One of my early introductions to playing, well… free, weird, experimental, you know, the “hated” music as some will joke… was performing at the Myopic Books Improvised Music Series where the rule is that you are required to play with some one you’ve never played with before, and that series has been going on for something like 15-20 years now. With NO MEDIA one of the things I wanted to accomplish was to bring that to a New Media context, and add in artists that work in mediums and genres that might not normally approach their work that way, hence opening it up to video, performance, and everything else..
The site of the performance, I think that plays into the whole NO MEDIA being about the now, being in the moment.. and how one deals with that in making art. That would certainly include the space one is in at that moment… Rotating venues… that’s always been in the plan for NO MEDIA, at least since we decided to turn it into an ongoing series. Having it happen at the same place every time would I think impose unwritten rules that I’d like to avoid… nobody should expect anything really to be a given at a NO MEDIA event except for the couple of basic rules for the events that we’ve posted. What happens if there’s no PA next time? Or if the next one happens outside and the only thing to project video on is the bushes? [aside to Jeff and Nick here... I think I just came up with a new "rule".. cue nefarious laughter]
I think a “success” for me with NO MEDIA would be seeing interesting new work inspired by something that happened at one of the Events, something that wouldn’t have come together otherwise..
JK: >I know Jeff has mentioned interest in hosting NO MEDIA in different venues thus drawing different artists and crowds – is this ideal for the interests of NO MEDIA?
Yes, absolutely. Our goal is to host each NO MEDIA event at a different venue with the hope that the change of location will increase diversity in participants. We are really pushing for different media[ums] to sign up for the events in order to keep the events fresh. My hope is that NO MEDIA has the possibility of providing collaborations with folks outside of an artist’s normal social/art circle. To that extent, anyone can sign up for NO MEDIA: it’s open sign up, low pressure, and the format openly accepts failure. Plus, diversity in performers usually creates more unexpected realtime results, which is really fun to watch/listen/experience.
>Do you foresee particular audiences and artists working in various other mediums responding to the rules in vastly different ways? If so, why do you think that might be?
I would certainly hope so. When drafting the rules for NO MEDIA, we certainly were aware of the multi-media flexibility. Particularly the first rule:
NO preparation is allowed. Bring your tools, devices, instruments, props, etc., but you’ve got to start with a blank slate. NO time will be allotted for ‘setup’.]
We are definitely interested in overlapping the rules with performance practices that may not have thought about these types of constraints in their practice before. How does one approach the same rule using different media? What if you’ve never considered your practice media-based? Then, how would one approach these generalized rules? Part of what makes the NO MEDIA event so indeterminate is that performers from different disciplines have to react to these questions in realtime with three other artists without (hopefully) any prior consideration. NO MEDIA builds this exploration of “finding something” in realtime with other artists you’ve potentially never met before. It’s a really exciting moment.
MK: In re-reading some of the questions and answers from this past week, I wanted to revisit something:
>Jeff: And also interested in how the “No Documentation” rule/constraint actually creates awareness rather than preventing it.
Is there any way that the rules are a response to a perceived lack of awareness that many in the media and artworld talk/comment on? There seems to be a new article everyday either proving/disproving the use of media in the classroom or the breakdown of American literacy because of the 140-character tweet. Since NO MEDIA also focuses on the audience and the audience’s experience, do any of you have any thoughts on watching/engaging in performance and its greater/broader relationship to our experience of the world? Is this a consideration you’ve had?
Also, do you see any affinities between the series you’ve created and the goals you’ve set for it and early performance work and happenings? There are major differences obviously in the types of constraints from those early days, but it seems that the principle is rather similar – it’s about being there and witnessing what could happen in the space. Is NO MEDIA trying to recapture in some way this emphasis on first-hand experience? Does this is some way react against a lot of work that is made about the unnecessity of actually experiencing work in person (I’m thinking particularly of Brad Troemel here)
NB: echo’n && reiterate’n on this…
>I know Jeff has mentioned interest in hosting NO MEDIA in different venues thus drawing different artists and crowds – is this ideal for the interests of NO MEDIA? Do you foresee particular audiences and artists working in various other mediums responding to the rules in vastly different ways?
+ connecting that with this:
>Is there any way that the rules are a response to a perceived lack of awareness that many in the media and artworld talk/comment on?
re:lack of awareness and/or lack of perspective, >> its tuff to gain perspective on your context when you’re on the inside looking out. Once in a conversation with Jason, he mentioned that he notices how at improvisational noise shows the artists often fall back on the same tropes/conventions. This doesn’t mean the artists aren’t being spontaneous, but rather that they’re doing so within a set of conventions. This isn’t inherently a problem, after all it’s these conventions that define the context (i.e. there are particular rhythms bossa nova musicians improvise on, these structures can be seen as limits/restrains but also help identify what’s happening as bossa nova). For me this only becomes a problem when the artist doesn’t realize they’re restraining their work to fit w/in these conventions (because it’s become such an invisible norm). I think this is where mashing up improvisational performers from different disciplines becomes interesting, when different sets of tropes/conventions are forced to reconcile w/each other in realtime… you can’t ignore ‘em.
>Also, do you see any affinities between the series you’ve created and the goals you’ve set for it and early performance work and happenings?
Oh yea absolutely, I think this is obvious ^_^ while it may not have been a direct reference at first I think there are lots of parallels, namely the interdisciplinary nature and the interest in (the alternative) value of ephemeral/uncommodifiable art situations.
MK: Thank you Jason, Nick, and Jeff for taking the time to talk with me about NO MEDIA!
JK: NO MEDIA is in the works for May, so keep an eye out on our tumblr for event and date specifics!