The Operating System

EDITORIAL / CALL :: Rhizomatic Intentcasting and Cocreative Support :: Live Broadcast with links, notes, minutes and intentions for modelling

I know I say I’m excited to share things with you all the time — this is genuinely true, and makes me even more excited. It’s exciting that there’s so many things to get excited about. In creativity and collaboration, there is more foment and room for possibility at this very moment than I’ve ever experienced before. And like YES! magazine for the creative community, perhaps, we’re here to share the good news, in order to help you actualize that … and learn who else is doing so. 
We’ve been addressing the use of social technologies and publication  more and more recently, it seems. And with good reason: every day new tools crop up that can be incredibly useful in the establishment and leveraging of “creative agency” that we are working to model here at Exit Strata.
For the past few weeks, we’ve been featuring the Field Notes and field recordings of Kennedy Karate/Nightbus Radio, via which we introduced the community to Soundcloud’s fellowship program… as well as, perhaps, to the possibilities inherent in that recording and distribution platform. 

Since then, I signed on to begin broadcasting live across social platforms using the Spreaker application,  which allows users to automatically record, broadcast and disseminate audio content (and mix in various audio sources). In so doing, I immediate recognizes the possibilities for this platform as, essentially, another form of publication-as-self-valuation, for creative people of ALL types, not just people who define themselves as “musicians,” or “sound” artists in any way.
The immediacy of the medium makes it an incredibly powerful one, in so far as it allows for simulcast of thoughts, read material, or whatever the individual so chooses, which can be recorded virtually via any internet connection and/or mobile device.  Of course, to be unintentional with this tool creates confusion and adds to noise – as does misuse of ANY tool or technology, from farming and fishing nets to AI. It’s the intentionality and clarity of purpose that makes this most powerful: we can engage with it to create continuous documentation of process in a way that is incredibly human, due to the connective qualities of the VOICE. 

After signing up I began circulating both my new channel and inviting others to participate via integration with facebook and twitter, and others began to use it as well and invite others on board. There was an immediate ripple affect, which simultaneously inspired essential conversations about process value and transparency that I knew could be useful to the community as others make their way through this new, seemingly overwhelming, wilderness of potential.
I want to comfort people in knowing that the learning curve is gentle. These are not complicated tools, but they do require some quiet approaching, like a skittish animal… or maybe YOU are the skittish animal! Be gentle, it’s a new paradigm 🙂

What we’ve done here is used another powerful tool, Google Hangout, broadcast live via YouTube integration, to record a dialogue around these tools and their possibilities in shifting both community and self in the way we approach creative work. Taylor Quilty, in Asheville, NC, and Lancelot Runge, in Philadelphia PA, both of whom have also begun podcasting through Spreaker this week, join me for the discussion.
What you also see here are the notes we co-wrote while on the “hangout” through integration with google docs, and some basic minutes of where the conversation went, including links to relevant information. You’ll also find mini embedded players for each of our Spreaker casts, as well as a drop box for the new Exit Strata group on Soundcloud, where we will begin to gather community sound content (anything goes!) for upcoming live dialogues and community curated podcasts.
Truly – there is limitless potential here. COME PLAY.
{broadcast live via google+ hangouts on air}
Rhizomatic Notes / Minutes
Tuesday September 18 2012
Lynne DeSilva-Johnson
Lancelot Runge
Taylor Quilty

establish protocols and plant seeds for online collaboration using Spreaker, Soundcloud, and GooglePlus/Hangouts on air

Send us your sounds
develop broadcast via video and radio to be curated and published using the Exit Strata network
Mechanical Turk as platform to disseminate eyes for mass market art making
everyone has a story to be told.
Via transparency value is revealed in even the most banal.
Spread prompts, share information to inspire…
open discussion regarding transparency and potentiality for both individual and group cocreation
What is mechanical turk?
tools: spreaker,, twitter, facebook, youtube, etc
Exit Strata is a VERB : creativity as lifehack — 
“something we started to fill a void,” to establish a space both in our physical lives and in our exhausted spirits that made us feel GOOD and EXCITED and HOPEFUL and INSPIRED by the awesome and crazy act of MAKING THINGS to which we were so committed.
a need to move towards cooperation and away from competition as the dominant paradigm controlling our choices around art-making. This required, to a certain extent, the removal of false or limiting divisions/labels, and in turn the encouraging of sharing as well as the offering of opportunities for interdisciplinary play/discovery/freedom.
…Ultimately, we’re only going to be able to escape from our current perceptual prisons if we alter our relationship to money/value/currency … and also understand its centrality in our self-esteem: as the origin of our own e-valuation of our “worth.”
We suffer from a perceived “morality of debt” – where we consider ourselves obligated to work. We carry guilt and obligation to our families, to society, to a more untethered concept of “responsibility,” on the one hand.
As artists and creative people, though, we also tend to hold a self-defeating candle for the romanticism of the struggling, “starving,” artist. This backwards pride with which we are all too familiar often stakes a notion of hard won battles, a rejection of creature comforts, and a skepticism of “selling out” as in opposition to financial security/abundance.
At times, an ugly haughtiness around “commitment” to artistic endeavor emerges, which looks down its nose at those who go a less extreme road at the, so it’s said, “cost of their art.” But, ultimately, we’re just hurting ourselves with these attitudes, and they don’t originate in creative people — but in a highly regulated, conditioned culture of fear that is necessary for the maintenance of the status quo.

understanding the act of publication as that by which an individual or collective develops and sustains a stream of auto-documentation as a holder (and exchangeable medium of) value. And by strategizing the wielding of creative agency around the act of storytelling.

The sensory, perceptual, meta-and-subconscious information we access in artistic perception and practice is an essential, unmatched resource that we must rely on in our work to break out of the traps of samsara/the status quo/ontological trickery…whatever you want to call it. The strategies and production of our creative classes allow us to see with child eyes and intelligence – something the lifehackers, the world builders, the creative economists desperately need. And we need their scalar, networked, iterative models and tools.
precedents: Rauschenberg, EAT
9 Evenings:
a legendary series of theater, dance, music and performances at the New York 69th Regiment Armory in 1966 by 10 New York artists: Robert Rauschenberg, John Cage, David Tudor, Yvonne Rainer, Deborah Hay, Robert Whitman, Steve Paxton, Alex Hay, Lucinda Childs and Öyvind Fahlström.
titles and title music by Robert Rauschenberg
titles start with 45 seconds of sound over black screen
In 1966 10 New York artists worked with 30 engineers and scientists from the world renowned Bell Telephone Laboratories to create groundbreaking performances that incorporated new technology. Video projection, wireless sound transmission, and Doppler sonar – technologies that are commonplace today – had never been seen in the art of the 60’s. The 9 Evenings DVD Series is an important documentation of the collaborations between the artists and engineers that produced innovative works using these emerging technologies. These performances still resonate today, as forerunners of the close and rapidly-evolving relationship between artists and technology.
STORYTELLING: instantaneous healing for self and other
Relationship of transparency/support/privacy/community or perceived lack to self-care and addiction etc
Support and trust within (creative) community vs. binary support/relationship/sexuality with individuals
Intentionality / dharma arts / possibility of balanced substance use as enhancement and expressive

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