oas Node #1 [10/10]: On Richard Tuttle in the Age of Art.sy

• http://art.sy
• http://pacegallery.com/newyork/exhibitions/11145/richard-tuttle-systems-vii-xii

Update on Saturday, October 13, 2012 at 10:26PM by admin

[ESSAY HERE]

DRAFT Prelude & Instructions for the Anarchives for #S17

[From Jez]

Comments & criticisms are absolutely necessary. But you can expect something like this to be distributed along with the signs on S15 in Washington Sq & S16 in Foley Sq. Negesti is my main coordinator in NYC right now, but contact me if interested in helping. We need movers and photographers!

                 [DRAFT]

+++++++

                 PRELUDE

In the first days of the Occupation of Liberty Plaza, amidst all of the pragmatic bustle and idealistic anxiety, a small group of radical archivists began to assemble a small collection of the community's signs.  Each sign's anonymous composition showed distinction, each one clever, eccentric, and beautiful in its own right. And when assembled together, the many signs' messages beamed a light in the darkest nights of NY's Financial District, a beacon, a light, one bright enough to outshine even the Eye of Sauron.

And the People came, from all around the city, surrounding states, other nations; they came to Occupy Wall Street. And so the community grew. And as the community grew, so did the Archivists' collection. And as the Occupiers grew proud of their occupation, so did the archivists of their collection. And everyone was so content and busy with all this growth that nobody stopped to ask: what are these signs, what do they mean to us, why are they important...and most obvious of all, what should we do with them?

In the days after the Raid, when we'd lost our place to live, and after the money had begun to dry up, though it had mostly caused trouble anyway, these questions were still unanswered and the Archivists were getting restless. In particular, one that was more radical than most began to suggest wild ideas of returning the Archives to the People, creating a revolutionary archive, a decentralized network of individuals, places, and things, that would be documented by the movement in-itself and for-itself.  While the Archivists either ignored this unfamiliar idea or tried to distance themselves from the archivist, his idea had begun to travel around the movement, and has come to be recognized under a distinct name: they called it the Anarchives.

The Archivists could neither understand the project's logic nor tolerate it's seeming uncertainty, but they also could not suggest a solution for maintaining the non-institutional OWS Archives as the group had originally planned. So instead, the Archivists made plans to give away the collection to the Tamiment, a traditional, institutional archive where the signs would be guarded and documented by experts. And despite these plans to ultimately surrender the archives to NYU, they demanded first and foremost that the radical archivist surrender his collection to them.

But the rogue archivist couldn't stand to see his work perverted and ideas rejected out of hand. So the archivist - now, declared, an Anarchivist! - stole away with his portion of the signs, vowing to return them to their rightful owners. But with no names to go on, and no one to claim to own them, the only rightful holder seemed to be the OWS community itself.  Believing it fitter to lose them among the community of their creators, rather than to stow them away safely for a thousand years in a private tower in Greenwich Village, he stowed the signs in a locker. On the birthday of the movement, he would give them back to the People and let them decide what to do. So the Anarchivist, having abandoned his property to the Commons, leaves the signs to you this day along with the following note:

            INSTRUCTIONS
                     3
            Anarchivists' Challenge

1. Take these signs. Take one or a few, or as many as you think you can personally care for and keep them safe. But DON'T keep them to yourself! 
2. Record yr history of the sign, yr thoughts and experiences and share them with others. Call together events to discuss the experiences and ideas that these signs represent. Be engaged in history, even as you write it.
3. Come together again around the movement's birthday, wherever you are and with however many you can assemble, and prepare to give them away again. These signs belong to all of us, as all of us are their archivists; so we are Anarchivists and so we pledge our dedication.

With all hope in lost causes,
The Anarchivist(s?)
-----

Interested participants are invited to come to Washington Sq on Sept 15 and Foley Square on September 16, 2012, where the Anarchives will be distributed.

We request you join one (or more) of the following start-up communities:
1. An email listserv
2. The OWS Anarchives Facebook group
3. A wiki.occupy.net account

Indicate yr preference and we'll set you up as necessary. We invite you to develop community events using your gifts. You are our historical astronauts. We invite you to imagine & urge you to create the meaning of what the history of this movementous event has been.

Update on Friday, September 14, 2012 at 04:28PM by admin

Would you like to help write the history of Occupy Wall Street? The OWS Anarchives is offering original signs from Liberty Plaza to activist historians & archivists interested in documenting the movement through artifacts of OWS history!

INSTRUCTIONS

Participants are requested to come at 12 pm Noon to Washington Sq on Sept 15 and Foley Square on September 16, 2012, where the Anarchives will be distributed.  In return, we will take yr contact information and invite you to join one of the following start-up communities:

1. The OWS Anarchives Hub @Interoccupy.net
2. The OWS Anarchives Facebook group 
3. A wiki.occupy.net account

Indicate yr preference and we'll set you up as necessary. We invite you to develop community events using your gifts. You are our historical astronauts. We invite you to imagine & urge you to create the meaning of what the history of this movementous event has been.

-----
If you have any questions, plz let me know. & Plz FWD: as interested or necessary!

Telling Stories [Novadic poem-image exchange]

This is my response to Kerry, but more fittingly a response to [Paul's] sending those photos. So a slideshow, of a sort, in return. Thanks for sending me back to Boston and the Cape. - Chris

​[Poem by Chris Moylan. Photos by Paul McLean (ca. 1984).]

Telling Stories

The coast was late in arriving

For that sudden sunset,

so we invented a new far away,

beautiful, well preserved,

like a bible newly translated

from a long winter’s sleep.

 

Last Breaths

What did we expect? a paper

airplane gliding like a gloved

finger over dust…a conclusion

comforting, almost inaudible

amidst the date palms

And ghosts in the varnish…

 

Anticipation

Sadness so evening kitchen,

so dirty dishes and ice chips,

so twist-off  bottle of Ginger Ale…

clouds gathering kindling

from what’s left of the treeline

to burn what’s left of sleep…

Regrets and disappointments…

Everything addled, a bit

Off kilter, too bright, and

too dark at the same time…

All the windows thrown open,

Flocks of heron, egrets come through.

 

Crosswords

Pills and crumpled napkins,

breakfast crumbs, newspapers

Baking in the oven… Pat telling

stories that don’t fit together;

words come first, then the puzzle,

then the empty spaces.

 

Last Day

On television an old man

Talking to an empty chair, other

Old men bobbing like cut bait

For Leviathan to clear the air…

This is Florida. I can’t wait

To get out of here…

A few families on Bonita Beach

Paralyzed by the sun. Stillness

Everywhere. Within the stillness,

A slight rise and fall on the bay

That pulls freighters into the haze

Does God read my mind?

Maybe, maybe not.

Pat has only a few days

and I am content to sit here,

mind empty, more or less,

no memories, no lists, no tasks,

just stillness and sand,

mind read, contents emptied...

CO-OP at b.j. spoke Gallery [Opening Reception, 9/8 report-back]

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Photo Credit: Katherine Criss

Saturday, September 8 marked the opening of CO-OP in Huntington, Long Island at the venerable b.j. spoke gallery. CO-OP is the Occupy with Art experimental collective project to integrate the 99% art economy with the cooperative food economy. Many of the bj spoke artists in the front and back galleries displayed powerful political artworks for the exhibit. True to Occupy form, we started the evening with street protest, thanks to Occupy Huntington. The good people of Occupy Storefront contributed a couple of last minute entries to our exhibition component, which added a lot of color to the array. The food spread and beverages were terrific, shared by the bj spoke artist community, the OwA participants (Chris baked a great pie and tarts) and our generous sponsors, Blind Bat Brewery. We had a terrific crowd for the reception, starting before the door opened at 6pm and continuing well into the evening. At 7pm, I made a performance art, throwing darts at my portrait of Mayor Bloomberg. It was a hit (actually all of them were)! Then, Chris and I gave brief talks about the project and Occupy with Art. Thank you to all who contributed to what was a wonderful evening of sharing art, convivials + passionate resistance and/or creative insistence. Special thanks goes to Marilyn Lavi, bj spoke director, Katherine Criss, and the bjs crews and committees who were vital in the actualization of this worthy collaborative project. Artist-owned and operated co-operative businesses are essential in a healthy arts ecology, and bj spoke is a great example and demonstration of that fact! - PJM

CO-OP at b.j. spoke Gallery [TONIGHT!]

Occupy with Art and B.J. Spoke Gallery in Huntington, Long Island are pleased to announce the launch of CO-OP, an experimental collective art exhibit and exchange, on view from September 5-30, 2012. A reception will be held at the gallery on Saturday, September 8, from 6-8 PM. CO-OP will feature an array of OWS photos by Steve O'Byrne, works on paper by Konstant and Isaac Moylan, and 4D animations, paintings and multimedia pieces by Paul McLean. CO-OP will introduce a model gift-barter of art for food, prototyping the direct integration of the local art and cooperative food networks. 

Konstant

Exhibition: September 5-30, 2012

Opening Reception: Saturday, September 8, 2012 6-9PM

B. J. Spoke Gallery

299 Main St  Huntington, NY 11743

Gallery hours are Tuesday-Sunday 11-5 and Friday 11-9.

Phone: (631) 549-5106

Contact: Marilyn Lavi: manager@bjspokegallery.com

Website: http://www.bjspokegallery.com

Directions: 495 to exit 39N; Glen Cove Rd. north to 25A east; 25a about 14 miles to Huntington Village. Main St. is part of 25A.

Occupy with Art

Website: http://www.occupywithart.com

Facebook: http://www.facebook.com/occupywithart

Co-organizers: Paul McLean [artforhumans@gmail.com + (615)491-7285] & Christopher Moylan [cmoylanc@gmail.com + (347)512-0833]

• Download the CO-OP book HERE.
• Download the CO-OP stencil HERE.
• See the CO-OP photoset HERE.
• Paul McLean's new essay for the Brooklyn Rail, "WTF America!"
• Steve O'Byrne's OWS photos at Flickr.

CO-OP installation view at bj spoke gallery.[EXHIBIT CONCEPT, NARRATIVE and DESCRIPTION]

CO-OP/Occuburbs/Occufest began in December 2011 as an Occupy with Art (OwA) initiative to bridge the apparent divide between Occupy Wall Street and artist-activists living in the suburbs of New York City - specifically, those who make Long Island their home. OwA co-organizers Paul McLean and Christopher Moylan, a Long Island-based educator, artist, poet and Occupier, discussed a range of measures they hoped might activate and unite Occupy with those sympathetic to the movement in Long Island, measures that included community-building cultural events and art exhibitions, in addition to mobilizing or organizing efforts. In so doing McLean and Moylan hoped to model innovative programs for sustainable, alternative art economies for the 99%, and to inspire those who engaged in activism in the past several decades to get involved with OWS actions, now. 

Drawing from Moylan's experience in co-operative food networks, the co-organizers developed the CO-OP concept into an exhibition with an art and food exchange component. Through the CO-OP exchange, OwA is developing a simple template for in-kind or barter-based markets that will help artists become more integrated in communities that lack accessible or available retail infrastructure for affordable art. After a search and inquiry phase, McLean and Moylan, found great partner organizations in Huntington - The Cinema Arts Centre, which hosted an OwA screening program on July 25th featuring the films of Liza Bear, and B.J. Spoke, a member-supported gallery with deep roots in Long Island, dating to the 70s.    

Moylan and McLean have written essays to platform the issues underpinning CO-OP, which have either been published in The Brooklyn Rail or the Occupy with Art blog. These include Moylan's CO-OP/Occuburbs/Occufest series, McLean's "ENOUGH [BASTA]!" and, more generally, McLean's "Soul of Occupy" sequence, which maps the sometimes (for the author) discomfiting parameters and expectations for art situated in the OWS protest movement, in its initial anarchic emergent state. 

[ABOUT OCCUPY WITH ART]

The CO-OP production builds on OwA programs and initiatives, such as "Occupy Printed Matter," OwA's collaboration with Yoko Ono entitled "Wish Tree for Zuccotti Park," the Spatial Occupation at Hyperallergic, "Wall Street to Main Street," "Low Lives: Occupy!" and the soon-to-open Occupational Art School Node #1 at Bat Haus in Bushwick, Brooklyn, NYC. Occupy with Art was founded in late September as Occupennial, and until recently existed as an affinity group for the Arts & Culture Working Group of the New York City General Assembly for Occupy Wall Street. Over the past ten months, OwA has operated in constant transition, serving initially as a nexus for communications and documentation of OWS-related arts and culture, then shifting into production and program development. Over its brief life span OwA has generated many opportunities for Occupy artists to share ideas and work, facilitated important discourse on the disposition of art and artists in the Occupation, and presented diverse programming exploring a spectrum of meaningful creative action. 

 

OAS: #TITMOTA e-flyer

SAVE THE DATE: CO-OP at B.J. Spoke Gallery [9/5-30/2012][Opening Reception 9/9 from 6-8PM]

Novadic Song in 7+ Parts

Dearly beloved,

Please find attached this novadic song for voice, guitar, subway train, whistle, siren, drunk girls, wind, silence, etc. Free to download here; encouraged to play in any order:

https://www.evernote.com/shard/s223//sh/b15eee1a-521b-4b6c-9490-fd70f4befaf8/08774e0860b39ae6fa9e67adc42f13a8

This was recorded from 2:30-3:40am on a pocket-sized hotness while finding my way from a shabbat dinner in Queens to a hot couch in Harlem, using a borrowed guitar, stealing melodies from singers I love (e.g. Calamity & the Owl) and words from the subway walls (do not pull the emergency cord, Emergency Workers...).

Excerpted Lyrics:
Wacky guitar...wacky guitar...oh no...oh no ooOOooOOooooo...and I wonder why the song is outside...We've got nothing left to do but play music on an empty subway platform...and o wonder why, the rails are electrified, why the floors all have their lights on (2x)...inside our minds, inside the heart, inside the hope of being One...and don't you wonder why the stars all healed inside, its not like were the last ones to consider the rain upon the sun...A Pyramid of muskets; a Teepee of guns...And don't you wonder why the lights are left on all night long...[whistles like clock chimes finding their own time]...and I wonder why, and I wonder why, and I wonder why, this song is outside. Ohhhhhhh ohhhh ooOOOooooooOOoo...

[Animation by Paul McLean, generated by Zen circles and compressed, digitized and/or dimensional simulations thereof... for OAS Node #1]

[PLEASE NOTE]:

Occupy with Art, Bat Haus and the Occupational Art School are pleased to announce that Jeremy Bold will be kicking off our Bushwick program at OAS Node #1 in August (details TBA soon).

Transmission: #Meditations (Borges & Atchu, the Quixote of OWS)

[From Alex]

#Meditations (Borges & Atchu, the Quixote of OWS)

"he comprehended that the effort to mold the incoherent and vertiginous matter dreams are made of was the most arduous task a man                           

              could undertake, though he might penetrate all the enigmas of the upper and lower orders: much more arduous than weaving a rope of                                           sand or coining the faceless wind. he comprehended that an initial failure was inevitable. he swore he would forget the enormous hallucination which                       had misled him at first, and he sought another method."



Occupational Art School Node #1

JULY 11, 2012

[INTRODUCTION]:

Today we will begin both a conversion and/or "point of origin" phase of OwA/OAS. This post will be added to for the next several days (once installed in this illustrated text, click "READ MORE" link to stay up-to-date on changes, as a bug in Squarespace causes edits to not appear in truncated main page blog posts), to reflect, summarize or represent the organizational trends and features our node has been developing over the past several months, leading to our OAS Node #1 launch. Many exchanges of many types have been undertaken in or through both actual and virtual environments to shape our platform, including conversations, exhibits, performances, data transmissions, shared archives or links. Our process has been informed by research, experience and theoretical positions. Input has come from many sources. The methodology has been "open disciplinary." Several texts have been offered as precursors [See "Soul of Occupy" and "Enough" series, as well as essays for OwA projects "Wall Street to Main Street," "Low Lives: Occupy!" and "CO-OP/Occuburbs"]. The Spatial Occupation @Hyperallergic residency was extremely helpful at a critical time in facilitating key emergent connections among some players in or of our OAS Node #1. Some explanation of how our node has formed will inevitably occur as we move forward, since the mode of the node will consist in part of a (transparent, apparent) practicum. OAS is emerging from OWS and OwA, and our relationship to the movement is fairly complex. As we begin, OAS is situated as an iteration and rejection of OWS arts & culture trajectories, simultaneously. We hope to offer some dimensional solutions to perceived or perceptual problems that OWS A&C exposed, derived of mainly ideological frames [IMHO-pjm] that may or may not, or should or should not apply to Occupational Art as we commence to conceive and manifest it. There are many, and multi-directional, oppositions to our undertaking. Fortunately and/or unfortunately, art and artists, we can see, prove that difficult creative environments are not always effective in crushing free expression. 

 TODAY'S SESSIONS

Session 1

• Gallery Visit: All Things Project [at the Neighborhood Church of Greenwich Village]
• Exhibit: Hologalactic
• Artist: Eric Leiser
• Curator: Samuel W. Kho
• Facilitated by: Susan Joyce [Fringe Exhibitions]

Short description: Artist-directed guided tour of "Hologalactic," followed by discussion and pizza at John's of Bleecker Street with Eric and Samuel. The talk covered a range of topics, including Eric's doing an OAS workshop on holography, and Samuel doing an essay and presentation on the subject of the art and the spiritual, as reflected in the programming at All Things Project, plus an exploration of the history of the Neighborhood Church. 

Session Two 

An OAS planning session with Jeremy Bold [original OWS Arts & Culture, Revolutionary Games, Novads, etc.]

Topics included:

• Jez's forming OAS Node 0
• A networked performance of his moving images later this month
• 4D digital imaging and painting
• Potential affiliations with other "schools" emerging from OWS, such as Freedom University
• Visionary praxis
• Usage of online tools for creating a content network 
• The Holodeck Prototype
• Exhibit opportunities in conjunction with "Time Is the Only Object" at SLAG
• Exploration of new street art in Bushwick
• Economic models, alternatives

[Image by Jez Bold]

[NOTES]:

Two weeks ago, at the end of June, I sent this out to a short list of friends/collaborators/occupiers to invite their participation in an informal email/phone-enabled "vision/mission" session. Here is the text: 

Hey all,
this is my starter transmission for the rebooting of Occupy with Art, after we celebrated our nine-month birthday...

it's a kind of vision statement

I would like to convert OwA and our website into a node for the Occupational Art School. It's my idea that I will start to form "classes" here in Bushwick in July. I see the conversion to be 

• a grassroots artist organizing tool 
• a means by which OwA can become sustainable
• a way for us to collectively and individually develop means to support our work/networks 
• the establishment of a production collective for generating shows, "games," actions/interventions, documents, archives, etc
• an inside>outside interface for revolutionary, democratic and dimensional art
• a means by which we can promote ideals and principles for art/artists/artistic purpose that we can believe in
• more.

At this point we have an extensive set of potential participants. we have learned that people (including ourselves) have varying degrees of ability for participating... this project will provide a way for us to mobilize people at their own levels; be a source of info on what those are; and produce clear results (art & art events, etc) that are attractive

I would suggest we platform OAS on 

• spirit-mechanics
• dimensional vision (4d)
• compassion and care for each other
• respect 
• kindness
• fierce determination
• endurance

It seems obvious that the nature [topography/culture/people] of this project to begin with will be international and local.

The operational start-concept is that each of us is a lead-artist of our own collectives. As a meta-collective, we will seek ways to provide support for each other in our various endeavors; in a slight adjustment of mission, OwA will serve as facilitator for our network'd & solo productions; document our progress; share our experiments and ideas; invite others to join; be a clearinghouse for technique and theory.

The e(n)ducation or e(n+1)ducational structure will encourage mentoring, mediums skill or craft, use of all available technologies, dedication to good assessment of progress and potential "success" on the basis of helping any "student"|"teacher" 

• to find her or his "best" artistic gift
• making space where that person can apply the gift successfully
• account for both history & creation (that one needs a bit of clarification; basically respect for one's particular background/vision/skills/craft/traditions > support for invention/genius 
• rational progressive development attaching to more responsibilities through the process (sound expectations)

I'm going to stop there - just to open it up to feedback... In a fairly short period of time I would like to open this up to a bigger set of perspectives and contributions. 

I personally have almost no interest in using any GA processes in this effort, based on my experience over the past 9 months with them. Over the past 30 years I've worked out very effective systems for generating highest quality art outcomes. I think all of you can say the same, relative to your own stuff. I say that based on watching you do what you do. 

Much respect  

The reach-out garnered a couple dozen replies, some of which were profound. Jez Bold's in particular - outlining his ideas for OAS Node #0, pointed the discussion in radical directions in terms of media and imagination, relative to time and experience. Chris Moylan and James Andrews provided a degree of pragmatism that afforded our brainstorming with a good foundation of realism, addressing not only organizational and economic concerns, but also useful references to other successful and sustainable models already operating in the domain. 

The importance of the archive to our undertaking was in short order reinforced by JB:

I believe that beginning with specially designated activities (for example, the philosophical/political/literary discussion sessions that Richard and I have experience designing and hosting) we could scale up the activities of these archival spaces into a network that I would be proud to call the Anarchives: an exploratory archive that any person of any ability is invited to participate in, consisting of a networked collection of people and artifacts that are free to interact with each other.  This node would be a community archive for anyone in the area who wants to contribute to documenting the life, activities, thoughts and art of people in the local area.  And it would be linked to the network of nodes through the Occupy With Art/Occupational Art School website, the Occupy Map, and other metadata resources that can help document and connect each node (person, space, activity).

As was the question of siting the program. The consensus seemed to point to a virtual/actual configuration or array. I pointed out that we already had online components in place. Both the OwA nexus site and the Occupational Art School Tumblr established for the Co-Lab (Austin) project were pegged to locate some of the essential activity getting started. 

Chris and others suggested disciplines and media (like the graphic novel medium) that had been under-supported by Occupy in reaching demographics vital to the expansion of the movement going forward. Big Ideas like JB/Richard's "Sensatorium" and "Holodeck Prototype" seemed ideally suited to collaborative or collective production. Naturally, a number of voices brought up the question of funding for these projects and initiatives. At this early stage, those concerns were set aside, although the alt.economy for art and artists being developed through the CO-OP project was mentioned. 

Several successful types of alt-schools are now emerging as viable and promising in the domain. James pointed to Trade School, but the spectrum of nodal or franchise or subscription education architectures is broadening at an amazing pace. Starting with say, Mark Allen's immensely successful Machine Project as a point of reference, we can also look to programs such as 3rd Ward, Intercourse, the OWS Summer Disobedience School, Freedom University and many others that are demonstrating that many approaches are possible for serving a wide range of "students" and "teachers" who are finding it more and more difficult or untenable to commit to the establishment academic tracks, for a variety of reasons, from the ideological to the economic. 

Alex and others who provided exemplar inputs, like Shane Kennedy and Ambrose Curry and the Revolutionary Gamers in general, showed that liberated actions and activities, barely recognizable as "teaching," might function as the "best practices" for our school design. The DisciplineAriel project and others, like Mark Skwarek's Augmented Reality combines, suggest that modular production enabled by network tech/electronics offers those tracking collaborations or participating as open-invite new-users in collective projects a means of learning that's low-impact, and fun/easy. 

Repeatedly, conversations touched on the principles of openness and mobility, but also on exciting dynamics with respect to immediate reach among potential collaborators, teachers, students and content developers of all creative flavors. Social media tools plus additive (n+1) tools like WIKI, CMS, fast dispersion -servs like REDDIT, elegant whiteboards like Pinterest, and other share-utilities offer a rich platform of options for us to sample, explore and apply. 

CM raised questions about our attenuation to OWS. Currently, given the nebulous but still potent if mysteriously individuated (if not in some aspects invisible) mass of Occupy, we have to suspend the definition of our relation with the movement, not because that is desirable, but because it is determined by the dynamics of the movement itself. Issues of identity and our interface with media (and potential participants/users) therefore for now remains in flux. For our BETA phase, this may serve to our advantage, by not limiting our developmental parameters. For those of us who were more or less integrated into OWS over the past 9 months, detachment from certain programmatic constraints feels refreshing, if bittersweetly so. 

To wrap up this section of the notes, let's look at JB's vision for Node 0:

I'm so glad this pluralogue is going on. Maybe we could plan a meeting when I can plan a Skype/in-person in where we can come together on some of these ideas.

I don't think I can help answer the question of how to locate OAS, except perhaps to say that I would it to operate on a decentralized basis, but one in which we maintain some conections digitally, and some network of names. (Does the network of networks itself need a name? I dunno. Maybe just call it The World...hahah). I assume we'll be operating kind of using our own expenses, tho it might be a nice model to practice tracking our use of funds publicly, which will be especially necessary if we want to get grants.

How do krystal-images relate to Occupy? The following is an excerpt from a longer piece that I hope should succeed in bridging the K-scope Xp-eriments to Occupy more generally:

...I want to live in the upper levels of human dimensions! Crystals awoke my eyes to unseen possibilities, new-found opportunities, beautiful visions of alternate realities. How can we understand Liberty Plaza without it?

This place was a giant crystal monad through which thousands of visions of society were compacted. And over 2 months, this process produced a group of people so dense and massive, that they turned the world upside down. What was impossible was suddenly very very real! And the people who looked thru that K(aleidoscope)-scope had their entire worlds un-adjusted.

It was tough, awkward at times, but we all learned a lot thru this experience. And the only way it will live on is if we tell this story. And even the stories are starting to revolve around the same points now. Why else would we still be interested in talking to each other about it? It's like we discovered that we all had a secret affinity for something that we didn't really know was possible before...

@CUE Art Foundation: Occupy Wall Street with Chris Cobb

Occupy Wall Street with Chris Cobb

April 28 - May 5

SHOULD THE ARTS LEAD, FOLLOW, OR GET OUT OF THE WAY?

A week of talks exploring leadership in the arts. Organized by Chris Cobb.

Click to read more ...

Share OWS

[NOTE]: Occupy with Art is a proud participant in the new NYCGA Arts & Culture initiative Share OWS! Share OWS has been developed by Antonio Serna and refined/approved by consensus in the A&C Working Group meetings. Antonio sent this message today:

SHARE OWS is a new program from OWS Arts Network that facilitates the sharing of content being produced within the OWS movement. What does that mean? Anyone working within OWS/NYCGA is free to re-circulate art, writing, photography, poetry, and other content produced within the OWS movement and for the movement. Read more about it here: http://artsandculture.nycga.net/share-ows/

We need your help: If you are a member of a working group, collective, affinity group, or thematic group within OWS/NYCGA, please contact us so we can add you the SHARE OWS list: nycga-arts-and-culture-org@googlegroups.com or reach out to Arts & Culture on the A&C Forum (nycga) or here, at the 917 Wall Street Arts Google Group. You can also help by spreading the word about this program and asking other groups to participate!

[From the SHARE OWS PAGE]:

SHARE OWS IS AN ARTS & CULTURE PROGRAM TO CREATE SOLIDARITY WITHIN THE OWS
COMMUNITY THROUGH THE SHARING OF ART, WRITING, and ALL OTHER CONTENT FREELY AMONG WORKING GROUPS AND MEMBERS IN THE NYCGA/OCCUPY WALL STREET MOVEMENT.

Click to read more ...

Yoko Ono's OWS Wish Tree for Zuccotti Park

To be distributed on Saturday, January 14th at 1PM, at Liberty Square.

#OWS Artist Trading Card Swap #1

OccupyATC

#OWS Artist Trading Cards

Our first swap will be a open themed five card swap.

DEADLINE FOR #1: December 31st,2011

For specifics on the card itself, research http://www.artist-trading-cards.ch/

Send your 5 cards and a self addressed stamped envelope to:

Occupy ATCs

912 Cooper

Missoula, MT 59802

Please RSVP in the comments so I can get a idea how many to expect.

After they are received,  I will post pictures with credits on this site for viewing.

Allow 2-3 weeks for swap and return.

Email questions to: brooklynfouse@gmail.com