The Tovarisch project (October 2011 - June 2013) was the inaugural series of virtual residencies hosted at The Unstitute, all of which were destroyed by a digital fire in the sub-basement of the Anarchive. For reference purposes, the proposals of each of the Tovarisch are archived here for prosperity.
This is the statement as required. LustigWeil now have control of all the assets of what was known as Clear As Mud. The title of the residency is 'Sub-curation Clear As Mud' and the official participants are Msrs Lustig and Weil. They (or their agents and participants) will build the pages up over the course of the residency, but naturally they do not wish to tie themselves down to specifics. I attach a censored version of the statement (for display online) and an un-censored version (for your official legal record only).
We are required to inform you that Clear as Mud are currently under an administration order and therefore are unable to complete their commitment to the Unstitute. In our role as administrator/curators will commit to find suitable artists to subcontract the Unstitute Residencies to. We will be looking to sub-curate an exhibition of work by relatively unknown and unexposed artists that we will both invite to partake or ask to submit proposals for their inclusion. As we have a lot of commitments at the moment we reserve the right to sub-sub-contract and appoint a sub-sub-curator should this prove necessary, but be assured we will demand the high quality of service that is our brand aim and devotion. LustigWeil is a high profile stealth partnership that helps artists in difficulty, and prefers to work with minimal personal exposure, so we will feel sure you will understand when we say we cannot possibly meet you in person. Instead we will rely on the social interactive technologies to maintain an ongoing dialogue. We understand that this residency is for an online exhibition platform, as such we propose that we start off with a page setting out our aims, with a short resume of some previous artists we have supported, a short history of our partnership, a blog feed and the important submission form. Once we receive the submissions we will display these, and of course when we receive the completed work we will set up suitable pages to display these. We may choose to work with a Leicester-based online content creation factory (Spillers Tripp), but we feel sure you are more than happy to accommodate this potential sub-contracting of the web-design for the show, and of course provide us with financial assistance to achieve this should it be essential.
If there are any questions that you feel you have to ask or if there are any issues that you feel you need to raise please feel free to contact us at this email address:firstname.lastname@example.org (please note we have no connection with the British Art Collector and Connoisseur, this email address is purely a coincidence).
Architectural spaces, computer games and photographic realism all play a part in James Moore's work. These paintings all picture something expansive, something concrete, conjured-up from fictional environments, sketches and photographs. One work may depict a virtual space, from an imagined world, while another might show a city park or a building from the real world. The painted scenes are never unbelievable spaces - they always stay close to the real, on the border of fiction.
"My proposal for the residency is to post a series (approx 30) of drawings / paintings on a web page over the course of the residency. The drawings will form a journal that documents my fictitious wanderings around The Zone. The drawings would picture a series of urban and rural landscapes, industrial waste grounds and so on, and a few characters and creatures. I intend to let my mind roam as the journey starts. I have a rough plan of some key locations to draw, but I want to keep the images lively. This also means that the potential for surrealism will be very strong. The images will be based on a mixture of stills from computer games, scenes from a particular novel and real places that I will visit. These physical places add an interesting element, as I will actually start to take on the strange role of the walker in the zone."
Déjà vu, from French, literally "already seen", is the phenomenon of believing an event or experience has occurred in the past.
The psychologist Edward B. Titchener in his book A Textbook of Psychology (1928), wrote that déjà vu is caused by a person getting a brief glimpse of an object or situation prior to full conscious perception, resulting in a false sense of familiarity. The explanation that has mostly been accepted of déjà vu is not that it is an act of "precognition" or "prophecy", but rather that it is an anomaly of memory, giving the false impression that an experience is "being recalled". This explanation is supported by the fact that the sense of "recollection" at the time is strong in most cases, but that the circumstances of the "previous" experience (when, where, and how the earlier experience occurred) are quite uncertain or believed to be impossible. Likewise, as time passes, subjects can exhibit a strong recollection of having the "unsettling" experience of déjà vu itself, but little or no recollection of the specifics of the event(s) or circumstance(s) they were "remembering" when they had the déjà vu experience. In particular, this may result from an overlap between the neurological systems responsible for short-term memory and those responsible for long-term memory (events which are perceived as being in the past). One theory is the events would be stored into memory before the conscious part of the brain even receives the information and processes it. But this has been downplayed as the brain would not be able to store information without a sensory input first. Another theory suggests the brain may process the sensory input as a memory, and therefore during the event one believes it to be a past memory, yet it is only a memory-in-progress; which is how the brain perceives life. In a survey Brown (2004) had concluded that approximately two-thirds of the population have had déjà vu experiences.
Serendipity means a "happy accident" or "pleasant surprise"; specifically, the accident of finding something good or useful without looking for it. The word has been voted one of the ten English words hardest to translate in June 2004 by a British translation company. However, due to its sociological use, the word has been exported into many other languages.
The first noted use of "serendipity" in the English language was by Horace Walpole (1717–1797). In a letter to Horace Mann (dated 28 January 1754) he said he formed it from the Persian fairy tale The Three Princes of Serendip, whose heroes "were always making discoveries, by accidents and sagacity, of things they were not in quest of".
Various thinkers discuss the role that luck can play in science. One aspect of Walpole's original definition of serendipity, often missed in modern discussions of the word, is the need for an individual to be "sagacious" enough to link together apparently innocuous facts in order to come to a valuable conclusion. Indeed, the scientific method, and the scientists themselves, can be prepared in many other ways to harness luck and make discoveries.
Serendipity is used as a sociological method in Anselm L. Strauss' and Barney G. Glaser's Grounded Theory, building on ideas by sociologist Robert K. Merton, who in Social Theory and Social Structure (1949) referred to the "serendipity pattern" as the fairly common experience of observing an unanticipated, anomalous and strategic datum which becomes the occasion for developing a new theory or for extending an existing theory. Robert K. Merton also coauthored (with Elinor Barber) The Travels and Adventures of Serendipity which traces the origins and uses of the word "serendipity" since it was coined. The book is "a study in sociological semantics and the sociology of science", as the subtitle of the book declares. It further develops the idea of serendipity as scientific "method" (as juxtaposed with purposeful discovery by experiment or retrospective prophecy).
For the duration of his residency at the Unstitute, Nicholas Middleton will attempt to make a film or film an attempt to make sense of the United Kingdom's constitutional monarchy in the run up to an arbitrary marker in Elizabeth Windsor's ongoing bid to become its longest reigning unelected head of state. This process will be dissected in open and transparent indifference and tiny slivers will find their way online in a half-hearted way.
Once finished the film will be ceremoniously destroyed, which will be documented by an independent invigilator. This documentation will then be destroyed, which is where the process of a snake eating its own tail must stop.
Welcome Receiver of The Eternal Drone!
You may have been drawn here after experiencing an audio ritual to prepare you, or you may have had a spontaneous gnosis, but now your Third Ear is open and you are ready to receive The Eternal Drone.
Throughout history, Receivers like us have often gathered together to parade around drumming and chanting, getting into a trance state so we can experience The Eternal Drone.
The Eternal Drone is the infinitely slow sound of the universe, born in the Big Bang with space and time, which it binds together. The Eternal Drone is the ground from which all other sound arises.
Instructions for developing your Third Ear
As part of a group, or by yourself, prepare to receive The Eternal Drone.
Draw a circle with a dot at the centre on your forehead.
Perform actions that will allow you to enter a meditative or trance-like state.
Open your Third Ear and listen.
Return to yourself, taking with you whatever you need from the experience.
Please send your Third Ear experiences, text, drawings, photos, video, or anything else the Eternal Drone inspires you to submit, to email@example.com. Video can be from a mobile phone or basic camera, as the intensity and atmosphere of these collective activities are what really counts. Selected footage may be included here or on the Tools & Principles of Transformation on All Levels blog, to help inform and educate other Receivers.
“Capture that time for it will never come back”
a wise man said to Adam Smith as he left the UK for his first visit to Japan.
Now, blinking into the bright lights of Tokyo, Smith finally understands just how heady a time it is, when starting a new chapter in a foreign country. Lucky Yamada too sees her homeland of Japan in a new light after spending five years in London, where she worked with Smith on creative projects. Yamada is a changed person, hyperaware of aspects of Japanese society which before she took for granted, whose outlook continues to shift as she works with ‘gaijin’ (foreigner) Smith on her home turf and witnesses his reactions to Tokyo life.
Yamada and Smith approach the three month Tovarishch position at The Unstitute as though artists-in-residence, sharing on a regular basis their new experiences in Japan. Room 1 they use as a study, where drawings, writings, and plans form piles for open reference. From Room 2 ‘Radioactive Radio’ broadcasts – featuring interviews, skits, and ‘exotic’ sounds – emanate, conjuring up images in the minds of every listener. Then in Room 3 online social networking services are utilised to create political avenues, where exchange with and between visitors to The Unstitute is facilitated.
The fear of invisible radiation from damaged Fukashima Power Plant – after the earthquake and tsunami of 11th March 2011 left the people of Japan shaken – still hangs heavy in the air. In these turbulent times, Yamada and Smith seek through their work strategies of meaningful social, political, and cultural positioning. With their ‘fresh eyes’ they explore aspects of Japanese society known worldwide as well as more obscure and domestic ones, in the understanding that the seeds of positive change can be found anywhere and everywhere.
Tokyo, Japan, October 2011