Rachel Lois Clapham and Alex Eisenberg documented today’s 10 Performances event with a live feed they updated throughout the day. By the time my performance What To Do begins they’re halfway down their third page. I love their occasional attempts to type out variations on everything I was saying. You can read what they’ve written here.

The text of What To Do is available to download as a pdf from the 10 Performances website, but I’m not sure I recommend you read it: the effect of reading the text on a page or a screen is very different from the effect of the performance itself. I’d like to think about creating a version of What To Do that can exist only as text, but until that happens I think Alex and Rachel’s live account is a closer document.

And here’s my own document of another performance, scribbled in my notebook in the dark. Theron Schmidt’s This text bears false witness reminded me very happily of some phrases from John Barth’s Lost in the Funhouse, which I wrote about here and here earlier this year. (click for a larger image)

(“Hello is like a safety pin” is just a note to myself, about a poster Anton and I are working on.)

Imorgon firar jag 150 dagar i puberteten – men jag kunde inte hålla mig, så jag visar lite bilder redan idag. Det är en hel del som har hänt sedan jag började med testosteron, både fysiskt och psykiskt.

De kroppsliga förändringarna är ungefär de jag hade väntat mig: Jag har fått mer kroppshår, jag har en lite mörkare röst och en jämnare och kraftigare skäggväxt. Min kroppstemperatur är densamma som förut, och med undantag för vissa perioder skulle jag inte säga att jag egentligen svettas mer. Däremot har jag både blivit mer varm i huden och mer frusen. Kanske är det lite psykiskt: Jag behöver inte längre de låga temperaturerna för att hålla mig hårig.

Måtten har förändrats – och det långt över förväntan, med tanke på att jag praktiskt taget inte har tränat alls. Vikten har fortsatt neråt, tack vare att jag samtidigt äter Concerta för min ADHD. Trots att testosteron brukar få människor att gå upp i vikt har jag tappat 4,5 kilo. Musklerna har kommit fram lite bättre, och mina underarmar och händer har blivit lite senigare, inbillar jag mig.

Men framförallt är det håret som är den stora skillnaden. På ställen som ryggen och kinderna som förr hyste några små ljusa fjun har jag numera en tydlig hårväxt, och benen som redan förut var ganska ludna är numera nästan päls. Jag har tillochmed hår på bröstet – men snyggast är ändå mina underarmar. Jag råkar nämligen tycka att lite lagom seniga och håriga armar är snyggt, och har alltid skämts för att mina egna inte är så ludna som jag önskat att de var, och alldeles för runda. Nu har jag äntligen snygga armar.

Håret på huvudet är ständigt flottigt och jag har finnar i ansiktet, på bröstet och på ryggen. Jag börjar tröttna litegrann på det, men det är egentligen en bagatell. Rent kroppsligt är jag väldigt nöjd med min pubertet såhär långt, och känslan av att faktiskt kunna hantera situationen smyger sig på då och då. Det är en mycket märklig känsla – men helt fantastisk.

Läs även andra bloggares åsikter om könskorrigering, vård, transsexualism, kropp, bilder, puberteten, kroppshår, målbrottet, skägg, röst, hår, finnar, muskler, mått, vikt, Concerta, Nebido, medicin, svett, förändring, hormoner, utveckling, diagram, testosteron

Tomorrow I’m performing a revised version of my illustrated talk What To Do as part of the Beyond Text 10 Performances event. The event lasts all day, and as we contribute our performances details of each one will be posted online here, so you can watch the event unfold even if you can’t be there on the day. An archive of the day will remain on the site afterwards.

Here’s an outline from the site:

10 Performances is a text-based performance project exploring the nature of performative writing and its relation to the staged event of performance. Five established international artists and five UK-based postgraduate artists will contribute one written work each.

Sharing a concern with language “not as a text, but, as an event” (Etchells, 1999: 105), the project’s aim is to explore the notion of writing as a way of performing as well as the ways that performance is being elaborated through linguistic and writing processes.

The main aim of the artists participating in the project is therefore to expand the forms and ways that one can “make writing perform” (Pollock, 1998:75).

The ten artists participating in the project are:

• Mark Caffrey (Queen’s University, Belfast)
• Barbara Campbell (Australia)
• Robin Deacon (UK)
• Matthew Goulish (USA)
• Akillas Karazisis (Greece)
• Johanna Linsley (Queen Mary, University of London)
• Cathy Naden (UK)
• Tamarin Norwood (Goldsmiths, University of London)
• Theron Schmidt (Queen Mary, University of London)
• Danae Theodoridou (Roehampton University)

Rachel Lois Clapham (UK-based writer and Open Dialogues co-director) will contribute a creative response to the works presented.

8HSH59MCDDGM

I’m practising for the 26th.

Under gårdagen hade vi en övning med UML diagram och idag var det dags att skapa eget UML diagram för vårt spelprojekt. Detvar dock väldigt svårt att komma fram till vilka klasser vi kommer att behöva samt hur de ska vara ihopkopplade. Men efter ett tag så fick vi ändå iordning något som såg hyfsat ut, dock tror jag det kommer bli endel ändringar i UML diagrammet efter vi har börjat programmera på spelet, för inte förrens då kommer vi kunna få en helt klar bild över hur många och vilka klasser som kommer behövas.

Vid nästa tillfälle är det nu dags att börja koda på spelet.

Arbetad tid: 2h

By Chris Janota of mx123.com 11/20/2009

Confused by all the Names?  Is Android a Phone?  Does the Palm Pre support iTunes? 

This chart makes sence of it all:

 See my review on the leading Smart phones.

First published in The Baptist Times, 19/11/09

I hear my artist book DO SOMETHING is back from the printers. The good people at (un)limited store have put a couple pictures on their website, along with glimpses of the other five books in the series. The book launch is at ARTISTBOOKINTERNATIONAL at the Centre Pompidou in Paris from 4-6 December.

Diagram over deelnemers Zevenheuvelenloop

26^e editie Zevenheuvelenloop

30.600 aanmeldingen

24.203 lopers gingen van start

35 lopers haalden de eindstreep niet.

46.27 het nieuwe wereldrecord op de 15 kilometer, gelopen door Tirunesh Dibaba

80 urinoirs

160 toiletten

800 hoge hekwerken

1300 dranghekken

25.000 flesjes water voor gefinishte lopers

25.000 medailles

MCA+D Senior Show

Circa 1994

Three drawing created during the spring semester leading up to my BFA Senior Show at the Minneapolis College of Art + Design. At the time, the drawing were a radical departure from my design studies. They were selected for: Selections, Invitational exhibition, Minneapolis College of Art and Design, August 1994.; and the 84th Annual Fine Arts Exhibition, Juried show, Merit Award – drawings, Minnesota State Fair, St. Paul, MN, August 1995.

Fig. 36-4

Fig. 48-1

Fig. 48-10

CENSORSHIP REGULATIONS PROHIBIT THE USE OF THE FOLLOWING:

1. deletions, erasures, strike overs
2. geographical names in the United States or Allied territory
3. reference to political, military, business affairs
4. mention of defense materials,  shipping, weather
5. nicknames, abbreviations, descriptions of persons, series of personal names, series of numbers
6. reference to government employment
7. mention of means of communication – cable, telegram, airmail, radio – use “message”.
8. no mention of money may be made

Time Peace

Screen printed clock face design that was printed on a vinyl record and baked in the over and formed into a bowl shape. A clock mechanism was placed in the center. The design includes: a barometer; Eastern, Central, Mountain, and Pacific time; and military time.

Resonance fm is broadcasting a new audio work of mine this afternoon as part of Digestives, the ongoing art writing radio series from antepress. It’s going to be be aired on today at 4:30pm and repeated Friday 20 November at 7:30pm.

This assignment was to create an anatomical diagram showing the location of organs relative to surface landmarks and skeletal anatomy.

This evening I’m going to describe to some friends the following work, which is the same work that appears in the diagram I drew last week. We won’t be able to put the work into practice because we’ll be at someone’s home and we won’t be able to draw lines all over its walls, and so once I’ve described the work as it should be, we’re going to try to find ways of replicating its effect but within the constraints of the domestic space: no lines on the walls, no lines on the floors.

Genuine Smiles uses a faint pencil line in place of writing – an attenuated, quietened form of language drawn between signified and signifier: between the thing described and the description of it. But once the line is drawn, the thing it started from isn’t there any more.

A sheet of paper of any size is attached to one internal wall of the cube, and attached just above it is a long piece of string with a sharpened pencil fixed to the other end. The length of the string will depend on the size of the cube: it must be long enough to reach to the furthest corners. Visitors are invited to hold the pencil and do whatever they need to do to muster a genuine smile. As soon as the smile is on their lips and before it vanishes, they should begin to draw a line from the smile to the piece of paper, without ever allowing the pencil leave the surface. This will probably mean drawing a line down their chin, perhaps down some clothing, down an arm, at some point onto the nearest wall or floor, and so on along the surface until the line from the smile reaches the most convenient edge of the paper.

The resulting line will attempt capture on paper a smile that might have vanished as soon as pencil left lips, and was long gone by the time it reached the page. Afterwards, the line will reach down from the page to a position the drawer no longer occupies, having travelled with the line to its ending place. And the smile, after all, might never have been genuine at all.

The residue of the Genuine Smiles event will be the faint pencil lines on the walls and floor of the space and on the skin and clothing of participants, as well as the ends of the lines caught within the frame of the paper.