gobo being fed through a giant pencil sharpener
beta-Pinene (29.49%), beta-Phellandrene (12.43%), 1,8-Cineole (9.68%)
benzyl salicylate 2151 Ambroxan (KAO) 3471 Aldehyde Supra 3094 MAYOL ® (Firmenich) 4507 CIS-3-Hexenyl Benzoate 3688 HEDIONE 3408 PERU BALSAM OLIFFAC (NOT EDIBLE) Isoamyl salicylate 2084 Alpha-IONOL 3624 EXALTOLIDE® TOTAL 2840 Hexenol cis-3 FCC (leaf alcohol) 2563 Aldehyde C-18 (Coconut) 2781 LINALOOL OXIDE (Givaudan) 3746 CIS-3-HEXENYL SALICYLATE EXTRA 4750 BICYCLONONALACTONE 3791 IONONE BETA 2595
Marking the differentiation of an action based off of whether it does or doesn’t change the state of the thing its effecting. Like if the effect is negligible or mildly effective or if it permanently effects something.
Defining the difference between objects that have various memetic affects. Like an object that is important because of an association with a character compared to one that is important because it was owned by a person thats famous.
Nerol 900 50% FEMA 2770 Violet LeafAbsolute 3% in IPM FEMA 3110 Lovage Root 10% in IPM FEMA 2650 Nerolidol 50% FEMA 2772 Castoreum Absolute SECTION 182.50 Civet artificial 50% FEMA 2319 Terrasol 50% FEMA 3491 Maltol 50 50% FEMA 2656 Vanillin FEMA 3107 Aldehyde C-12 FEMA 2615 Coumarin FEMA maybe Melonal FEMA 2386 Cedrenol FEMA 2389 cis-5-octen-1-ol FEMA 3722 clonal FEMA maybe Koumalactone FEMA 4032 Hexalon FEMA 2033 Ethyl Formate FEMA 2434 White Cognac eo FEMA 2331 Vetiver eo SECTION 172.510 Beeswax Absolute FEMA 2126 Hydratropic Aldehyde FEMA 2886 Undecenal FEMA 3095 Methyl hexyl ketone FEMA 2802 Cocoa Extract SECTION 172.510 Ethyl Heptonate FEMA 2437 Veratryl Aldehyde FEMA 3109 Cocoa Aldehyde SECTION 172.510 Aldehyde c-12 Lauric (Dodecanal) 50% FEMA 2615 Hexyl Benzoate FEMA 3691 Butter co2 SECTION 172.510 Linalyl Acetate FEMA 2636 Ethyl Safranate FEMA maybe Maltarome FEMA 3623 Menthanyl Acetate FEMA Maybe Dimethyl Hydroquinone FEMA 2386 Methyl Acetophenone FEMA 2677 Cedarwood Terpenes SECTION 172.515 ketoisophorone FEMA 3421 Cananga eo FEMA 2232 Copaiba Balsam SECTION 172.510 Kaffir Lime leaf eo SECTION 172.510 Wormwood eo FEMA 3116 Seaweed Absolute FEMA maybe? Alpha Phellandrene FEMA 2856 Styrallyl Proprionate FEMA 2689 Anisic Aldehyde FEMA 2670 Allyl Phenoxy Acetate FEMA 2038 Dibenzyl Ether FEMA 2371 Cresyl Acetate FEMA 3073 Corps Racine FEMA maybe Kharismal FEMA 3408
Graeme/doink has indeed passed away and I’d like to ask that you don’t approach the family about this. I appreciate the thought for my brother.
I’ve lightly read through the messages… no it’s not a scam… my apologies if it wasn’t the best means of communicating the news, but I wanted to let his friends know promptly so we can just move on.
Navient Stuff FAFSA Tax Return Guthman Presentation Rosenboom Proposal Instrument case saras book oranges
please! turn me into a deer
Brachychiton populneus Nnn Nnn Nnn Nnn
About the courtesy pieces and how to perform them
Documenting these pieces
Photographs displaying the before and after effects of performing the piece is sufficient. Preferably the photograph should be done simply and should not be about technique or use advanced tools and skills. The quality of a cell phone photo is preferred. A photo or video of the piece being performed is also acceptable.
The pieces are performed by doing the action indicated but more importantly are performed unwittingly by the environments and people effected by performance.
In the case of the below example courtesy piece 11 the performance is done by anyone using the sink from that point onward.
Courtest piece 11
Meticulously clean a community sink
Meticulously clean a shared sink
Clean a sink that you dont yourself use
This piece represents a erasure of history and a drive for the utility of an object. The sink, in this case my example will be a studio sink is both an object that mist function and that carries the history of the space. By meticulously cleaning this sink there is an erasure of the artists who came before this event. Each left a stain on the sink, often uncleaned paint and these marking diminish its functionality. Returning the sink to a pristine state means erasing this history. The further performance of this piece by users of the sink is a heightened functional and aesthetic experience. The coded meaning of a clean sink versus a grimy one are obvious. With good intentions one hopefully will not want to be the first to further soil the sink. It will inevedibly rereturn to a grimy state.
Laminated command tags that furries wear Shake you tail Shake your muzzle Shake your claws
Dance Dance all night long Dance some more
Mix and match piece Elevator pieces
Furryflux zine book that is handed out
The idea of who dictates what is and isnt wanted text who is the authority. Voice to the voiceless, in ancient art graffiti is one of the few and only ways we know about common people. Intended use vs real use of a space. What are the rhythms of graffiti? What is the average lifespan. How fast is it made. How long does it remain unchanged. How long does its message remain known, knowable, able to be communicated? and for what reasons does it communicate? To who? Looking at graffiti as an anthropologist. Pigment, color, texture. Synthetic vs natural, what is the natural state? A blank wall a communication-less wall? And the synthetic? Is it color? Is it itself meaning making?
thinking with scent specifically like how one makes a sentence
Wasps- A How did we get here? B Like in this room? A yeah. B someone picked us! A the artist did it. B idk if they nessisarily did it but someone did,
It was bound to happen i suppose. A what do mean it was bound to happen, they chose to do it. B but they needed us for some reason, something motivated it well beyond our will. What does deterministic mean anyway? Its probably hinting at something like path of least resistance then it doesn’t apply to us
A oak galls
My name is Wesley Hicks, and I had a show in the WaveCave gallery three weeks ago.
During this show 29 of my river rock instruments were stolen. These objects are sculptures, ones that I devoted my time and energy into making. These sculptures need to be returned to me. There was never a situation outside of the structured performances where they should have been taken out of the gallery. These rocks were labor intensive to build and the show was the culmination of the work that I did throughout the entire summer to make them. The amazing artmaking environment at CalArts is dependent on trust and we cant have events that happen at CalArts if we cant trust others at this school. I have put together large scale performances and installations much like this at other schools and museums and have never had anything stolen. I have set up two locations to return the rocks. The rocks can be left in a No Questions Asked Rock Return (a cardboard box) in front of the art and music offices.
Clapping piece where audience keeps clapping irrationally before or after another piece in a concert.
California water conservation History of los angeles Rivers of california geography radical cartography surveying maps maps of institutions tributaries and waterways rain dance water rituals processions our connection to shared histories californias dry riverbeds ceramic material geology geological chemistry geological alchemy earth materials synthetics synthetic rocks, synthetic nature trump liuoi experience oriented meaning shared experiences group experiences social pracctice fluxus scores relational aesthetics earth art, site specific art land art site versus nonsite our relationship to the land the outdoors, indoors sound art use of sound as representation representing a river synthetic acoustics new music, sound, noise cocophany of sound playful music play games games as art games as music scent river scent synthetic rivers synthetic natural experiences eaton canyon east fork my childhood calirnet mouthpiece work instruments that make the sound of a river orchestra large scale ensembles the juicerinas, the microtonal ocarinas
For something to be synthetic the following rules are needed: There is an original non synthetic version or equivalent. It serves the same general function as the original, but likely brakes aesthetic rules and categorical boundaries. The synthetic version is made with a different method then the original. It is man made, using some kind of human technology. The less understood the technology is the more synthetic the result is perceived. The less understood the technology the more likely the material is to be described under scientific terms. If the synthetic version is the same material as the original, it is generally more chemically pure and homogenous then the original. It is a refined version of the original. There is a social perception of it being less authentic,less genuine, less natural, and less real then the original. Often described as a cheaper version or a knockoff of the original. Considered an inferior reproduction. It is viewed as mimicking the original. There is a perception that the existence of the Synthetic is related to commercialism, the idea of reducing cost and maximizing amounts produced. The existence is economical. Synthetics are most often of the future and less likely of the past.
Throughout the performances with the Juicerinas various unique scores have been used. Each venue receives a unique score that is designed around the physical characteristics of the space and the general tone that we want the work to focus on. This is greatly effected by the institutions and the kind of space the performances are in. Over time the scores have zoned in on specific language and have been dramatically simplified. A mixture of simple language and poetic gesture work well for giving commands and describing creative intent.
OoooOOooOoooOooooo I found your phone Ir was under my pillow Its on your side of the bed now
The power to experience 29 the shock of elsewhere is what distinguishes the poet. Diver-sity, the quantifiable totality of every possible difference, is the motar driving universal energy, and it must be safe-guarded from assimilations, from fashions passively accepted as the norm, and from standardized customs.
I am showing in mint gallery. Utilizing the walls I am constructing “Scent bells” which are ~1 foot wide semi circular ceramic forms that will contain mixtures of essential oils inside that produce smells that i have curated. Each of the scent bells function as a vessel, containing the smell and only allowing a small amount to escape at a time. They are to be smelled much like one would smell a flower. The essential oils are mostly from plants that i have distilled in my studio. The work will also feature some synthetic smells that are from the perfume industry. The essential oils present are all considered safe to be inhaled. Some of them do have known issues when in contact with the skin (causing contact dermatitis) but none of the smells will be available to be touched. Let me know if you need to know more information.