Browsing articles in "Writing"
Jun 3, 2017
angela

The Me That No One Sees

“…and what you’re shown is profound. Justin Timberlake’s Cry Me A River isn’t something we were prepared for in 2002. And since then, the methods used in creating such a sophisticated work have only improved.

Wasn’t it just a music video though?”

Read the full article I wrote on the FOCI Arts webpage. 
(Thanks to Ray Evanoff for giving my weird as fuck article a home, and to Rod for his amazing skills as an editor.)

Sep 20, 2015
angela

I is a dream Body has

My friend Ray Evanoff asked me to contribute to his online publication FOCI Arts.

It is best accessed on his site directly by following this link: FOCI Arts – Art and Athletics 4

but I have also included this version below for those that just happen across my site willy-nilly….


 

FOCI

Introduction by Ray Evanoff

One of the parallels between athletics and art is that both are personal practices. The daily endeavors of such practice become ritualized over time. The repetitive work therein becomes a study of one’s self, forming inroads to unarticulated regions. These regions may be defined or clarified or altered or reflected by the practices that illuminate them. Athletic and artistic practice may thus connect with other parts of life.

Here artist Angela Guyton branches both outward and inward from her physical practice, charting regions along the way that are both personal and broadly applicable. Her’s is a reflection on the body as medium for the insubstantial but intensely significant. She is an overlap between athlete and artist.

1-ray

2-hi

3-the-most

4-likewise

5-I-also

6-animal

7-so-able

8-hands

9-500

10-I-would-now

11-fig1

12-fig2

13-fig3

13b-concrescence dispersion

14-some-time-MAKO

15-to-know

16-hello

17-I-make-things

18-end

Jul 3, 2015
angela

My favorite music videos

In no particular order

Aphex Twin – Windowlicker

 El Guincho – Bombay

Erykah Badu – Window Seat

Gesaffelstein – Pursuit

18+ – Drawl

Die Antwoord – Zef Side

 Jon Satrom – 100 Force Quit Noise Cancel Calculators

Nirvana – Heart Shaped Box

R.E.M. – Imitation of Life

Sia – Chandelier

May 2, 2014
angela

Dialogue

I made these a year ago but I wasn’t ready to let anyone see them. I worked on these everyday for a while then. They’re a dialogue I was trying to open up to. Between me and me…or the universe and the universe. They are both, and they are silly.  They’re little drawings, because as it turns out the universe is ridiculous sometimes.

1-conduit-to-god

2-your-grandmother-dying

3-this-is-the-universe

4-a-little-mustachio

5-positive-effect

6-self-agrandizing

7-probably

8-change-yourself

9-trying1

10-trying2

11-trying3

12-rewire

13-less-metaphor

14-relax


 

15-Helmut1

16-Helmut2

That’s Helmut Lemke. He was my teacher for a while.


 

17-Rod1

18-Rod2

19-Rod3

That’s my husband, Rod. We don’t always see eye to eye.


 

20-body1

21-body2

22-body3


 

23-hemiola1

24-hemiola2

Jan 30, 2013
angela

Exposition

On January 22, 2013

self-portrait-1

self-portrait-2

see

So the most important thing to me would be

THE SIMPLE TRUTH

It’s that fundamental idea that I’m just here.

There’s nothing more to say about that.

 

Then there’s something I have to deal with:

THE IMAGINARY ADVERSARY

Then there’s

LANGUAGE ITSELF

which is that it is a filter.

Then we can talk about

WHY

This can be broken up

—as far as I know, or have thought about it—

into MY MOTIVATION and THE CONDITIONS

 

Then there’s

METAPHOR

 

That is called the Homunculus, and this is called the Cartesian Theatre.

homunculous

Memories! That’s weird…

 

Then it will be the end of our species.

Again, I need to focus on right now.

So some of my MOTIVATIONS are fear-based

 

Maybe you’re just me.

Maybe you’re just me out there.

fuck-your-ugly-bones

[At this point I should have written

PROCESS

This occurred to me only later that day.]

 

capsule

the-sight-of-an-object

 

How-we-see-things

How-we-build-things

 

 

 

probably the most

legible manifestations of that communication

May 11, 2012
angela

Fiction vs. Non-fiction

pg. 88 – 89
Fiction vs. Non-fiction
fiction-vs-nonfiction

pg. 90 – 91
We make ourselves relevant by making each other relevant
we-make-ourselves-relevent
pg. 73
Things that I do not see
when I close my eyes,
drawn crudely.

Evidence of touching to feel comfort,
things that I did not see
when my eyes were closed.

—–

pg. 75
breath —> light : gesture —> voice.

draw to shape sound. The sound is the feedback from my voice. Three/four tension points
-true voice
-feedback “voice”
-physical visuals created (ie lines)
-physical gesture used to create lines/manipulated voice/feedback

An instrument.

Performance requires execution or criteria for execution.

How does gesture effect the voice without supplementary technology?
Will the voice still be [like] a line?

More interested in other people right now.

pg. 85
The animal in the machine
The human – the monkey
The machine – the animal – the sublime – the unknowable beyond

-The animal is at his best when the machine functions properly.
-A healthy mobile body
-The movement of the body to construct the mind
-The animal needs to maintain the machine, but sometimes doesn’t (probably causing psychotic behaviour on a large scale – society out of balance.)
-The animal as a seeking being — that imagines what is possible and tries to do it — is human. The animal in awe of the sublime is human.
-The seeking animal within a functional machine may know more/experience more of the unknowable — the beyond yourself.
-Between the animal and the sublime on that spectrum lives our best self
-The unknowable reveals itself to the seeking animal
-We gained the ability to see the unknowable at the symbolic revolution. An effect of which is also detachment by way of language.
-The ability to analyze the thing insulates us from the thing while in that “mode”.
-Aware of experiences I would normally not be aware of without language but the language creates a buffer around that first contact “feeling”

pg. 86
The machine isn’t just a healthy body. It is the processes of the mind–those that are in place for survival–also functioning properly. The machine also includes your instincts and automatic mental processes.

The animal appreciates the functions of the machine. All the joy of having a stupid monkey brain. Sometimes just the animal being.
Animal being.

I can’t experience everything
I am experiencing all I can
I need to be open, and learn how to be open to new experiences

-Machine functioning
-Animal being
-Human seeking
-Sublime transmitting

I need to know/remember that other people may not be “I” but they are me out “there”, where I stick my arm out.

Apr 8, 2012
angela

Environment

Move the drawings to three dimensional space.

Do it with movement and sound.
Possibly by diffusing the sound.
Eliminate the canvas/flat surface [any surface].
Eliminate the physical mark.
Use concat synthesis to create the sounds using gesture.
The natural gesture that would create them on the canvas surface I’m used to (as a starting point from which to build).

Keep breath to light.
Move in space.
Draw with sound to create the drawing.
I’ve built up the experience I wonder if I can do it without the visual output of actual marks.

Collect a library of sounds.
Build a corpus.

For home listening/viewing disconnected from the performance
Record the jit.window output
Record the sounds
Viewer wears headphones and closes eyes, then is placed in front of a projector (maybe just a computer screen is bright enough)
A version of the experience (just like the painting is–just a sample), if one can’t be at a performance, which is the ideal situation.
A translation.

Things I can do:
-Control brightness: the ramp up rate/decay rate
-All white
-Light off or all black
-All red
-Intensity of red based on pitch
-Red splash (currently with a set duration but doesn’t have to be)
-Synth pitch based on voice pitch
-Stutter/strobe (currently can’t control the alternating rate. Currently set at the constant 50 milliseconds)

Things I want to do:
-Illuminate specific area of a canvas (control the brightness & shape of those areas)
-Play back sounds using gestures in space–sounds that those gestures would produce on the canvas. Concat?
-Get my left hand free; not tied to a wiimote. Can do this if I move to gestures.

Extended mind thesis
Extended body

If you can do anything, why do this? –Rod
Anything is possible -me
Not everything is worth doing -my father

What’s worth doing?

I assume I can control [some aspects] of my development–conscious development.

I assume the norm for me is to exist in time and that it moves forward, as far as its perceivable to me. Its not useful in terms of my own development to assume I have no control or to not believe in time, or to believe the most useful things occur outside of time.

f(k) = A
Thinking of myself in terms of Kate Freeborough. (Is that formula kinda right?)
Kate is interested in play without agenda.
I have an agenda.
I do what I do to exercise mixing up information. I think I increase the probability of success by doing it in an unforgiving environment–in front of people, performing, in time (which is unforgiving because there are no ‘take backs’).
Doing it with other people (Anton and Rod) creates a dynamic, stimulating environment that I have to navigate in.  I have to read it and respond.

Its getting easier to hear.

I improvise in that environment.
I set my intention to be aware and to be as fluid as possible so I can learn what I don’t know. I want to be surprised.

Questions to ask Kate:
Do you believe you can do anything?
Do you believe anything is possible?
Is everything you do worth doing?
Do you set an intention before beginning to make?
Do you [always] play without agenda? or is there sometimes ‘game’ involved?
Can you expand on the difference between the two as far as you’re concerned?
Do you consider unpredictability in your closed systems?
If yes:
What’s the role of of unpredictability in your closed systems?

Mar 29, 2012
angela

I am mostly bacteria

I am mostly bacteria. My body is in stability, an equilibrium of symbiotic small organisms. But I also have a single point of view, I. And it is a tool, or a muscle, that evolved from that organization of trillions of simpler life forms–presumably because it benefited me.  I am still trillions of bacteria. I think sometimes about how my I is not as big a part of me as I necessarily presume it is.

I wonder if that consciousness formed slowly or came into existence all at once.  What is the simplest form of life that has that singular awareness? Or is that singular awareness just a group of dummies that cross a critical mass threshold, and the whole crowd puts that self-awareness hat on for the time they are that group? Its funny to think about ooze that’s all of a sudden like “whoop! Here I am”

And then…
What am I doing when I am part of a group and we explore the transfer of information–and there’s an ephemeral abstraction to it?

Related:
Bonnie Bassler: Discovering bacteria’s amazing communication system
Joe Rogan: “There’s a study that proves that humans are 96% chimpanzee. If I gave you a sandwich that was 96% shit… and 4% ham… would you call that a ham sandwich? Shit sandwich, my friend.”

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