On Saturday, October 13, I will be performing the second piece as part of Dance Faster series, entitled Dance Faster 2 , immediately following Dan Graham and Beatriz Colomina’s performance at the the Storefront for Art and Architecture’s Performance Z-A series .

Dance Faster 2 is a public dance party for wireless headphones, turntables and a microphone. Headphones and dance steps will be provided.

The performances will be this Saturday, October 13, starting at 7 pm in the ring dome pavilion on Lafayette and Kenmare in Manhattan, New York.

Special thanks to those who participated in Dance Faster 1.

Photos from the series can be found here . Photos below from Dance Faster 1 are courtesy of the Storefront for Art and Architecture.

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A SPECIAL EVENT TO CELEBRATE STOREFRONT’S 25TH ANNIVERSARY

21 SEPTEMBER – 16 OCTOBER: PERFORMANCE Z-A
Sept 27
Daniel Perlin (AKA DJ N-Ron) is an artist working across media creating sound, video, objects
and installations. For Performance Z-A he will present Dance Faster, a live mix from inside the Ring
Dome that the audience will be able to listen to through wireless headsets from anywhere inside
Petrosino Park and the surrounding area.

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Then, on Saturday September 29, I will be doing live video work with dj/rupture and giving a talk at the Austin Museum of Digital Art

This should be a great show, with d-fuse and many others in the lineup…I am also looking forward to the artist’s talks at the museum earlier in the day…
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In 2003, after 5 years of trying to reconcile the contradictions that are always at play as an ex-patriot in Rio de Janeiro, I decided to embrace them. I returned to New York, ready to try a new life, a kind of ex-patriot in my own country. Edward Said fantasizes a bit about this in Representations of the Intellectual, lifting the position of the public intellectual to the Romanticized state of the exile. I was always a skeptic of this position, favoring Rousseau’s concept that knowledge is just pain (though it is common knowledge that he did like to get spanked on the ass by strangers, so perhaps his relationship to pain differs from a more traditional notion, or we could say knowledge is a pain in the ass–get it?!). But perhaps Said’s position, of the intellectual as exile, even in his or her own nation-state, has some truth-value if we consider the condition of the practicing thinker in the United States of America right now.

First, short of Chomsky (here debating Foucault), we are left with a scant few so-called public intellectuals from which to choose. Some of my colleagues and friends have decided to look to popular forms of representation, from Hip-Hop’s heroes to some hopeful hopelessness in the form of television, like John Stewart or Stephen Colbert. Foreign intellectuals, such as Habermas, with his explicitly eurocentric viewpoint (a positionality for which he receives endless criticism from everyone from Judith Butler to Peter Sloterdijk), has, nonetheless, occupied a critical force in legal and ethical studies for many years. Still, for a national product, we are talking about US intellectuals here, from its own respective borders, so I guess he’s out. Who do we have now? Oprah? Keith Olberman? Obama? Hmm….Perhaps we have a real problem of leadership in the intellectual community. Or perhaps the stage has changed or been removed. Does anyone care about exiled intellectuals in the US?

Brazil has a a unique tradition of exiling intellectuals, if only to then be able to appreciate them. Caetano Veloso, of course, never fails to remind us of his brief imprisonment and forced exile to England (where he produced one of his greatest records, A little more blue. I have always looked to Brazil as the “country of the future”, as it has been popularly known. Perhaps we should start doing this, or have we already?

The intellectual as exile, from Benjamin to Veloso to Mandela to perhaps even Herman Hesse and so many countless others, seems to be a condition of the State that is as inescapable as the prison walls of Guantanamo. But Brasil seems to have a particular twist to its intellectuals as exiles. As many of my friends have told me, and as I have seen as well, the Brasilian is not appreciated by Brasil until it is first appreciated by Brazil.

We can see this both in music (from Bossa Nova to Gilberto Gil, who also had a stint in London, to Jorge Ben and Chico Science and Nação Zumbi, to Sepultura etc.) as well as the visual arts. The incredibly prolific Helio Oticica got his first real New York show for many years posthumously at the New Museum–yet it was a show about Helio Oticica’s time in New York. Perhaps his best show to date, aside from Whitechapel in 1969, was from Rotterdam’s Witte de Withe Center and the Walker Art Museum in Minneapolis. This catalogue continues to be one of the best publications available on the artist. Does Brasil need Brazil?

This question has arisen time and time again, and we are given a glimpse into some of this contradiction in the very thorough documentary on Carmen Miranda “Bannanas is My Business“. Miranda’s story, first loved as national heroine, then hated for “selling out,” as it were, the Brasilian image, seems really difficult for many to grasp from abroad. But her work came at a time when nationalism within Brasil was wedded to the strong state apparatus and a concentrated export economy of national cultural production.

Since 1994, when Fernando Enrique Cardoso “opened his legs” by dollarizing the economy and stimulating foreign ‘investment’, Brasil has moved quickly to establish itself as a very real player within the international game of consumer economies.
Many of its stifiling import taxes on technology and foreign goods have been reduced, and a newfound relationship with the “exterior,” as it is known, began.

But, perhaps predictably, the relics of the past fetishizations of the North continue to haunt as a specter. 389 years of colonization are hard to shake off (Brasil was the last country in the western hemisphere to end slavery, as well a late-comer to national revolution). As an example, for City of Gods to carry its critical social and cinematographic relevance, its success in international festivals and markets was essential. Is it power that is sought, from or for foreign investment and money? Is it the media justification? Or is it that for so long, Brasil has required the seal of approval from abroad, that it continues to validate itself first through the its imaginary eyes of others?

Now this may come off as harsh, but I can only illustrate countless examples. Diplo playing baile funk in Brazil, but does he even know the lyrics of the tracks he plays? Yes, DJ Marlboro was a hit already before he toured internationally, but are any of these artists that Marlboro and Diplo play ever really getting paid? What about Tom Zé, who, despite his disdain for the US and in particular the US government, required David Byrne as a champion before he was able to quit his day job writing jingles?
Yet someone like Bebel Gilberto, who largely made her entire career abroad, is scorned, despite her very high production vaules.

This generalization of national music production has its exceptions, and as the state of the music industry begins to dissipate and micro-economize, the newer generation of music makers has led the way towards a new language of production.
BNegão and Instituto
Sincerely Hot and Kassin+2
Sabotage (R.I.P), Xis, Racionais MC’s, M.V. Bill, R.D.C and even D2

I guess I have two hopes. From my position right now, I can try do something so that one day Brazil will value Brasil. But some people feel that first Brasil has to value Brasil. Of course, I have to wonder, where do the borders lie?

Chapa Coco by Xis–

Trafico na Favela by R.D.C.

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This Thursday, June 28 there is a show I am quite excited about. Along-side a number of really talented artists, my new band, Possible, will be playing its debut performance at galapagos art space in Williamsburg Brooklyn at 730.
Possible is dp on guitar and voice and alex posell on drums and electronics.

The artist Mouna Andraos, whose work I quite like, will be projecting some video as well.
You can hear some possible music here

and below you can hear possible song for the end of things.

The performances are from 730 to 930 in the back room

The complete press release of participating artists follows. Thanks, and I look forward to seeing you there.

PRESS:
Paul Amitai is a musician and media artist whose projects have been exhibited at Scope New York, Art Chicago, Soap Factory (Minneapolis), and Exchange Square (Manchester, UK). As both a solo performer and a member of various bands, Amitai has shared the stage with a diverse range of musicians, including Run-DMC, The Skatalites, The Specials, Mighty Mighty Bosstones, Califone, and Crooked Fingers. http://www.paulamitai.com

Lady Firefly (aka Zarah Cabañas) is an international VJ and Video Artist, most recently performing with Animal Collective at the NYC River to River Festival earlier this month. Tonite, Firefly is pleased to share a unique concoction of her electrorganic live visual universe, a heavy mix of wires and water. http://www.fireflylab.com

Possible is the latest project from Daniel Perlin (aka DJ N-Ron Hubbard), mixing singer-songwriter, folk and country elements with electronic music. Perlin works across media creating sound, video, objects and installations. Currently, he is performing live video with Dj/Rupture and Nettle and researching sound-mapping techniques. http://www.danielperlin.net

Mouna Andraos is an interaction designer in various media including web, mobile, electronics and wearables. Her work for a Montreal-based interactive production studio has won recognition ranging from a Best of Show & Best of Art at the South by South West web awards to a cyberLion in Cannes.
http://www.missmoun.com

Buccheri / Allen is an East Indian-influenced electro-funk collaboration between New York sound artists Mark Buccheri (tabla) and Jamie Allen (electronics). http://www.heavyside.net

Angie Eng is a media artist who works in video, installation and time-based performance. Her work, which draws from her peripatetic lifestyle and inspiration from indigenous cultures, has been performed and exhibited at the Whitney Museum at Philip Morris, Lincoln Center Video Festival, The Kitchen, and New Museum of Contemporary Art.
http://www.angieeng.com

heya, since this is the best thing happening in NYC right now, I thought I’d drop it in.

The lineup for the storefront for art and architecture’s Postopolis ‘conference’ are the heavy-hitters of all the brilliantblogosphere, including BLDGLG, Wigley, Rupture, Abe Burmeister, and a lot of what else I think is good to read/see via rss, and engage with via social soft and hardware.

It is a remarkable chance to actually hear and see these mysterious entities of reportage and criticism in one place.

(fyi, it rumors are flowing that the saturday night closing/party will have N-RON on the dj decks, alongside of the multitasking dj/rupture)

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Once, while passing through Seville, I came upon a pair of backpacking college students.
We stopped at a bar inside the train station, shared some bread and jamon and wine, and chatted while waiting for our connections.
“What have you been doing in Europe?” I inquired. I recall that I was genuinely curious (after all, backpackers must have many tales and adventures– from hostels to trains to strange encounters with foreign lands).

One of the two, a pony tailed woman named Julie from Texas, was very outspoken and jumped right in.
“Well, first we did Austria, then we did Prague, then we did France, which was fun, and then we are gonna do Morocco!”
Something struck me as strangely perfect as our chat was interrupted by the loudspeaker calling their train:

What does it mean to do a country?
Can you consume a country?
Can you consume your own country? Or just Others?
Is experience quantifiable?

Over the years, I have had asked these questions many different ways to many different friends, and always been impressed how difficult they are to address.

Generally, there are 2 main sides to the argument for Knowledge as Consumption.

1. Time is limited, so to “do” a place or culture means to see and experience particular aspects of that place or culture in order to know and understand it. Experience is therefore aligned with knowledge of culture or place as an object. A subject knows this object as discreet set of boundaries understandable and finite, as a thing.
Experience = knowing, knowing as consuming.

In other words, it seems that countries, in a sense, like any experience, can be consumed at the great fast food joint of life.

All the Marxist talk of Mcdonaldization seems to apply here:
“McDonaldization seems to equally involve commodification and rationalization, to commodify food production and to rationalize its production and consumption so as to increase profitability.” [Douglas Kellner]

To follow this, we could say, the commodification of experience allows it to be compared for exchange, such that we could easily imagine Julie saying “I’d trade Paris for Barcelona, or Morocco for Prague.”

But what, then, in the consumption of a country, is the profit? What do we “get” when we “do” a country? Is experience (or anything that takes place over time) inevitably instrumentalized into exchange value?

Doing a country means that you are a tourist, a global flaneur walking through the arcades. As Benjamin has pointed out, capitalism has expanded the privilege of the flaneur to a growing middle consumer class, and normalized this privilege to the point of extinction of category itself. This leveling of the role of the flaneur into a middle class has been discussed (ad nauseum?). In a sense, the playing field of experience has been reduced to a shopping mall. Just as, at least in the United States, almost all middle income people can think about getting a Macchiato from Starbucks, so too can the tourist prefer their churros over croissants. The flaneur, the dandy, is gone, and as the tourist impulse has created a new globe-traveling middle class in the 20th century (and now the 21st), so too has the privilege of the dandy tourist been evacuated.

However, a real question is, if the seeer-as-knower-as-consumer is “getting” something, what is the “profit?” Perhaps the profit is the ability to consume and see more as an individual. In this model, individual experience as quantifiable knowledge is seen as a good thing, to enable the exchange of ideas in a marketplace of determined and instrumentalized experience-objects. “My trip to Paris was better than my trip to California. I want more Paris and less California.” On the one hand, this quantification allows for a certain kind of judgment of epistemological claims based upon empiricism. We find this problem as the quintessential modern debates about aesthetics and experience (al la Greenberg and others), and it certainly cannot be addressed adequately here.

However, we can say that there is some kind of judgment that can result from this leveling-out, both of the playing field of the flaneur as traveler as well as the knower-as-consumer. One can judge experience as “better”, “worse” etc. based on specific individual criteria, usually based on a language of implicit mono-cultural understanding: “the food was bad, but the weather was great” or “the people were cold, but the music was fantastic” are example phrases of cultural comparisons based on such travel-experience.
2. The second argument dovetails with the first. Is this quantification ‘bad’? As Brett once pointed out, he prefers a “pleasurable” online experience with a better product (browser) than to one, which does not provide a “rich” and “enjoyable” experience.

The critical points of interjection seem to float around three very broad and difficult terms:
1. Experience
2. Judgment
3. Knowledge
Is it wrong for me to judge my knowing of Paris against my Knowing of Barcelona? By what criteria should we reduce experience in order to know it? I am plagued by these questions as I struggle to come up with a language for articulating sound. I struggle with these issues as I come up with the sounds for language. I struggle with sounds. The sounds of struggle seem to everywhere these days.

I do know that when I hear that someone “does a country”, the sounds of struggle seems to be missing from my ears. Can experience be fungible, and is this desire for the fungability of experience a desire to repress or sublimate struggle? Does the plasticine sheen of the exchange commodity of consumed experience level the field, or are we again forced to acknowledge the combined and uneven development of experience, that some have and some don’t.

This is, it seems, the precarious zone that post-structural critique leaves us in, the area of relativism. Does judgment itself fail to do its job? Has judgment been hijacked for the purposes of better exchange?

Maybe a visit to the Whitney ISP show up now at Artist’s Space will help, or the curatorial program exhibit on coming up at CUNY grad center, called “The Price of Everything…perspectives on the art market” will point some new directions. However, for now, I have to confess, the trend seems to point to complete branding of the bodies of experience as both inevitable and largely accepted by both the left and the right. Freedom of choice is equated to the starbucksification of nation-states? Experience as consumption. Consumption as pleasure. Pleasure as freedom.

i am the reblogger for eyebeam for the next 2 weeks, so I’ll be giving my attention and thoughts through them. Of course, a few new things coming up:
1. Needies will be in the toy fair here in New York starting next week.
2. Tunnel Vision, a recent video with dj/rupture is in barcelona at the Saledestar on the 11th of February, through acetone magazine.
3. I will be in Amsterdam for the Sonic Acts XI festival, doing live video on Friday the 24th. They are also releasing Tunnel Vision as part of their dvd.

see you soon…