[OAS Node #1 [July 13]

Technical

[Session 5]

Today we visited the St. James Theater and a tech rehearsal for the "Bring It On - The Musical," at the invitation of designer Jeff Sugg.

[CONSIDERATIONS, OBSERVATIONS + CONJECTURES]

• OWS has been characterized as an art medium, and analyzed relative to performance, performance art, relational art and other modalities of staged expression or exchange. Precursors to the Occupation like Zefrey Throwell's naked staged intervention on Wall Street ("Ocularpation: Wall Street") expand the set of considerations, as do the actions of the original Arts & Culture group/gamers and the Aaron Burr Society, suggesting that there is something to it. Many kinds and instances of performance, often involving professional performers, were and continue to be integrated into Occupational activities, such as "The Tax Dodgers," the Brecht performers and so on. One of the most compelling collective circle-discussions hosted by Hrag Vartanian during the Spatial Occupation @Hyperallergic centered on these phenomena. Where does performance (as situated in entertainment or artifice) stop and Occupation-as-performance begin and/or end? Does the conflation of performance and occupation diminish the latter and trivialize it, by compressing the redress of grievances into a modality of coded narrative for desire-satisfaction? Etc. Certainly this is fertile territory for analysis with tactical or strategic implications. [David Graeber has written on this subject relative to protest, police, puppets and media propaganda, which we also attempted to address in SO@H residency reading group. Graeber's text(s) indicated the anarchist's jaundiced and limited vision for art in conjunction with direct action, minimizing art into a protest utility functionary, and redefining it to the extent that art is a fungible creativity applicable to all activities human, an absurdist conjecture ultimately. Is falling down art (if an art does it)? And, if everyone is an artist, is all falling down artistic? 
• The observation of the "Bring It On" tech rehearsal was profound for this viewer, who has been away from professional theater for the most part for the past decade, with some notable exceptions (Circle X at Ford Theater in LA, and other theatrical entertainments covered elsewhere). The opportunity to assess the evolving role of electronics in the medium led to the formation of some important seams of conjecture, mainly pertaining to the reformation of hierarchies in production, and the staged spaces in which artifacts from old, even ancient, models of dramatic transmission are being fundamentally redesigned, reoriented or constituted as ana-spaces for performance, due to the intervention of computer-sited processes in play-making and/or 4d presentation. Jeff and I briefly discussed these "advances" and related effects, and committed enthusiastically to further explore their significance. The power of theater in revolutionary change cannot be underestimated. These developments potentially point toward new theatrical practice that obviates the insipid corporatized "creative" economic content that passes often for top-shelf theater, now. Like similar spectacle-ism in sports, music, art, political races, war coverage, etc., the need for dimensional veracity for collective sharing of imaginary-real experience as vision is vital in reclaiming a democratic commons for us all. This is a key in expelling propaganda in all its insidious iterations from the field of dimensional perception. 

[Session 6]

Art Gatherings, Community, Exchange

• SLAG Gallery, Bushwick
• Opening for Claudia Chaseling, "Infiltration"

This communique is a stub. The subject is the continuing progressive evolution of Bushwick, Brooklyn as a locus for an international art community and market, and much, much more. [Full disclosure: The author is represented by SLAG] OAS Node #1 will host Bushwick-focused study and celebration of the dimensional "art scene" materializing in the neighborhood, which is our neighborhood. Bushwick's emergence is THE art story of the moment, now. Chronicling its "happening" is vital, and must not be left to the 1% or corporate media. Each OAS Node will be encouraged to analyze and document the art topology(-ies) it inhabits. The accumulation of data drawn from this analysis and documentation we hope will eventually yield a database that in its totality will paint a very different picture than the one(s) that exists now about art, artists and especially art-/artists-in-community. 

CO-OP Platform Text 3: Occufest [A Media Proposition]

By Chris Moylan

Occupy Wall Street has been relentless in demonstrating the structural, legal and financial dimensions of a systematic and well-financed process to corrupt Congress, paralyze the executive branch, manipulate the courts, and weaken financial regulations to allow speculative banking and investment practices ruinous to millions and exorbitantly profitable to the few. This calling to account extends to environmental practices, war policy, food production and marketing; the list goes on.

It stands to reason that harm to art and culture has paralleled harm done to economic and political life. On a practical level, when millions lose their homes and their jobs the arts suffer in varying degrees along with other elements of a society. However, detecting changes in discourse, as opposed to changes in attendance or viewership or the like, is difficult and to a large extent requires the wisdom of hindsight. We can track accurately how many people are attending what kinds of movies, but it can take some time to determine what a given cluster of comedies or action movies says about the zeitgeist at given time.  It can take time for the effects of social trauma to manifest themselves in fiction, movies, tv shows, not to mention more ambitious or serious undertakings in music, visual arts, poetry, and dance…

We can, however, identify some of the egregious forms of damage being inflicted on the public psyche right now, leaving the more subtle analysis of cultural artifacts to another time and context. In particular, the working poor and lower middle class people are subject to insult in the guise of entertainment and degradation in the guise of advertising. The Occupy Wall Street ambition to build a better world might include the task of defending and supporting the dignity of those who would inhabit. In particular this is something that artists and writers associated with OWS can do.

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