Saturday, March 5, 2011

DAY 4, CONSTRUCTION DETAILS BUILDING THE REHUMAN SEAT.

DAY 4, BUILDING OF THE RE-HUMAN SEAT.

FRONT ELEVATION,
OVERVIEW OF SEAT.

Materials List.

Table Connection Arm-3/4" Galvanize Pipe,
Table- 1/8 Checkered Plate (sheet),
Seat- 18 gauge Stabilizers, 13" Diameter Stool, Metal 1x1/4" Circle, 31/16" Cross Members, 3/8" Steel (run along stabilizers),
Main Frame- 11/2X3 RHS,


SIDE ELEVATION,
OVERVIEW.

FRONT ELEVATION,
OVERVIEW.

SIDE ELEVATION,
WITH TABLE ARM CONNECTION.

MODEL, RED SEAT 1
OVERVIEW,
 SHOWING CONNECTION ARM.

TOP ELEVATION,



TABLE CONNECTION ARM.
WE WILL LIKE THIS TO BE ABLE TO DISCONNECT FROM THE MAIN FRAME.

CONNECTION ARM AND TABLE FRONT ELEVATION.

CONNECTION ARM.

CONNECTION ARM/TABLE, DETAIL.
BOTTOM VIEW.

TABLE CONNECTION ARM, DETAIL.

SEAT AND STABILIZERS.

FRONT ELEVATION.

REAR ELEVATION.

CONNECTION ARM, DETAIL.

VIDEO 1
EXPLAINING CONSTRUCTION DETAILS.
CONCLUSION:

ALL GOOD AT THIS POINT, CONSIDERING THE DESIGN AND THE DELIVERY DATE.

WE WILL HAVE TO PUT FOOT INDICATORS THAT WILL DIRECT, WHERE THE PROTAGONIST WILL HAVE TO PLACE THEIR FEET. 

VIDEO 2-
 EXPLAINING CONSTRUCTION DETAILS



VIDEO 3
FULL OVERVIEW OF SEAT.


The University of the West Indies
Department of Liberal Arts and Institute of Gender and Development Studies
New Geographies of Postcoloniality and Globalization

Repositioning the Body in Postcolonial Communication:
Confronting the Privatised Consumerist Agenda
(Artists’ thoughts on Installation Proposal)


1.      As we sit for dinner - mother, father, cousin, nephew, niece, sister, brother in-law; food is laid out and we prepare to dine in conversation when the iPods, the cell phones, the games shows emerge; in some way setting the rule of some kind of disengagement.

2.      A trip up to the Aripo valley in the Northern Range with the cousin and the academic and suddenly, just like that- the iPod. I am incensed. What’s up with dat? I ask inquisitively - there are three of us - join in the conservation. Your mother didn’t bring you up like dat.

3.      It is Carnival and we heading in a packed car to Port of Spain. The car stereo is playing music of the season and suddenly, the iPod is whipped out and the young woman sitting at the left rear window retreats into her world. She leaves us.

The three situations above present examples of the privatization of the modern social practice, and the deconstruction of habitual notions and practices of communication.
Free-market globalization and new developments in information technology have allowed for a deconstructivist intellectual position that allows for the liberalization and de-territorialisation  (i.e. westernization ) of thought and practice’ Using concepts such as the “global culture” a dialogue that is pervasive amongst artists, politicians, technocrats, bureaucrats and a business sector..., which states that since we belong to the global world population we have every right to absorb and utilize their cultural influence to advance our very own. This statement true as it is for small post colonial state usually comes at the peril of our heritage and our very own cultural self. These debates usually come from a very well articulated, educated and disparaging middle class which perceives itself as modern and global. 
This approach challenges traditional notions of “self” which regulates that the “self” belongs to a body, a tribe, a community for the continuity of the very “self” and the very community in which the “self” exists. These new formulations of how we present this “self” belongs to a narcissistic Western philosophy of modernist capitalism that tells us that the “self” belongs to the inner contemplations and ambitions of the individual with no responsibility to a wider community. This prescription has been the result of a consumerist middle class angst aimed at repositioning and maintaining good standing within their social group. This angst is evident in the heavy prescription for young people of qualifications and proper social etiquette in activities such as dance, swimming, choir, football, cricket, basketball and karate  Activities which prepare the young to advance within their class and peer group but have no real intention to building community.  The above may differ due to class and intention. These activities facilitate belonging in this group but do not provide the philosophical tools to critically analyse their situation.
This preference is reflected in the need to acquire the latest tools and gadgets that will give them the trappings of social mobility and plays into the consumerism that has corrupted our social order. The current tools are the cell (smart) phones, iPods, video games, social networking sites like Facebook and Twitter, the game box, and other forms of bling.
The concerns of individual social mobility within one’s group are carried out in the interest of privilege and privatized concerns.  In other words, my interests become more important than the other: setting the table for confrontation with siblings and peers. These mobilization concerns at times have resulted in the destruction of long-standing institutions resulting in the development of privatized preferences to schools, medical services, members clubs, gangs, sporting and social clubs, blocks, setting a pathway, for new forms of communication?
Personal space is considered a one-inch circumference around an individual. Modern communication technology has increased that space considerably through an alienation of the individual from his or her social space, creating distance between people resulting in a lack of empathy, which increases the political ideology of the ‘self’ and consequently the iPodization of space.
So we have constructed this social bubble that has no correlation with our traditions, our ancestral and heritable grounding around - how we socialize, how we communicate with each other, or how we design our communities, our space and families.
Globalizing Culture or the Americanization of our Postcoloniality through its media and pop culture has created the authenticity of the narcissistic self;  presenting the ambitions of the individual as more important than any other concern. It is here the online self is born, to connect, yet disconnect at the moment. To read and listen, to chew and speak, to listen and talk.
Like a partner (friend) said recently in relation to an event affected by low participation - “Two hundred people on Facebook said they were coming, dey all lie.” This disconnect is possible as it is all too easy to press the key, to turn up the volume, to kill another alien, than dealing with the pleasantries and challenges of human communication.  How do we find the nature within us, me, and within you? How can we get a glimpse of this unsettling behaviour of our moving away from the skin of the other?
I am proposing that we adjust the dining experience to force people to be seated in close contact of each other; in some way we force them to rethink the relationships between bodies and activities. There are clear ways in which the body operates in this very personal experience. Usually a dining experience is laid out in a grid network and the personal organisation is square or circular and within specific measurements according to the number of people sitting at the table. By readjusting the measurements you can radically alter how the body reacts to the other. By redesigning the utensils you re-order the communal, bringing skin closer to each other.
What if we were to ask each other to discard our cell phones, iPods, laptops, etc. for that moment while they sit in one of our most primal and private of activities- dining?
What will be observed?
I wish to challenge our modernity by repositioning the body back into our living conversations.  This should set the stage for the consideration for new alternatives that will challenge our Neo- Postcolonial “Self”, which has branded the privatized body with elements of paranoia, gangster-ism, exoticism, religiosity, fundamentalism, capitalism and politicization. The native body more than ever is evolving into an unconventional form, without the critical analyst that will give it that specific flavour we so ideologically speak of, when we refer to the Caribbean body or “self”.     
 In essence what I am proposing is the deconstruction of a particular design order for the possible reconstruction of a social design manifesto by re-imaging the primitivism of an indigenous performance such as dining which is an important ritual of our lives.  By re-inserting the “self” in a very embroidered manner into the design of this space, creates a highlighted concern about the political body, recognizing that this belongs to us all as it has always been communal and social, creating the possibility to understand the possible in the non-literary and non-linear ways in which we communicate.


Dean Arlen
Artist/Sculptor
25.10.2010 

Thursday, March 3, 2011

THE HEAD BANGGER PIECE. A DANCE OF DEFIANCE. JOUVAY AYITI (HAITI NEW DAY), AN EXPLORATION INTO INTERPRETATION.

CONCEPTUAL DESIGN OF THE HEAD BANGGER PIECE.
AN EXPLORATION INTO INTERPRETATION.
FROM PAPER, TO THE MAS CAMP, TO THE STAGE.

UPDATE: This is an initiative of the Department of Creative and Festival Arts, University of the West Indies, UWI.

I was asked to design one costume. "The band will portray tow major themes to be presented at different venues:
1. 'Haiti: Gods, Heroes Vilains'- individuals and small groups for
a) the regional Carnival circuit; b) the Old Yard, DCFA, Sunday 27th February.

2. 'Haiti: Mudder of Civilization'- Jouvay 2011.

This design was conceived to be performed in the Mudder of Civilization, Jouvay 2011.

THE MEASUREMENTS.

The design was seen as a body suit that would have ended at the waist. It was seen as an extension of the body and would have exaggeration of the movements that the body would have done in it's simplest of moves.

Conceptual Thought- When I think of Haiti, there is a long sadness drawn from a lack of activity politically and socially by Caricom, my own country and an international community that has played a role in Haiti’s turmoil. But as I grew and learned of Haiti’s inner soul, I learned of a resilience, a defiance of a culture to lay down and sleep, you learned of the metal drum art, the music festivals, the textile makers, the artists...you learned of an ingenuity to live.
There was a philosophy being implemented through the art school movements. This philosophy implanted their culture into the imagination of the world. Be it misunderstood or not their cultural product is at the tip of world attempts at understanding them. 
The head or body piece is a natural extension of the body, reaching for “that”, that makes us resilient, makes us a people, to continue in the dignity that they and we should all be, this continuation of the us is the re-embracing of our traditional craft making techniques, such as wire bending, weaving and dancing within the modernity of know.
1.      The Frame – can be built using wooden strips that will give it a flexibility in move of the body.
2.      Fabric-The Body piece will be knitted with coloured fabric. If cost factors are a concern twine can be used or strips of coloured cloth found.
3.      The Bells- the bell will be installed on the body piece, at 52”/4=13” interval on the body piece, with the bells on spikes at the top on individual spike that emanate from the body piece.
4.      The Dance- This should be a traditional dance of Haiti, that can be give modern over tones as we will be speak of tradition operating within a modernity and surviving because of adaptation.




IN THE CALLALLOO.
Peter Minshall's Mas Camp. It was here that Lari Richardson built the piece.

Due to time, material the original concept was adjusted. This was expected, The time consume process of constructing the original piece. Time was against them.

It is my understanding that this will be used as a prototype piece for building the final piece. Which will be done for a presentation in Haiti.

This will have to be confirmed, with the management of DCFA. 

IOO BELLS, $1OO.00 DOLLARS.

HEAD PIECE. STRUCTURE.

LARI RICHARDSON.

PRELIMINARY STRUCTURE.
This found structure, due to it's flexibility, was used to develop on the piece, which will be adjusted to a shoulder harness and strapped to the torso of the performer.

PRELIMINARY STRUCTURE, DETAIL.

DETAIL OF PRELIMINARY STRUCTURE.
A mesh was placed over the structure.
cloth was then attached.
with another layering of mesh, was added.

STRUCTURE, DETAIL.

WORK BENCH. BELLS AND ALL.

DETAIL OF STRUCTURE.

LARI RICHARDSON, WITH COVERING. WHICH WILL BE ATTACHED TO THE MESH.

STRUCTURE. DETAIL.

AH SAW THIS ALREADY

THE SHOULDER HARNESS.

SHOULDER HARNESS, FULL VIEW.

IN DE CALLALLOO.

BEND YUH HEAD TO THE RIGHT.

DETAIL, OF HEAD PIECE.
Here we see the mesh, with attachment of the bells.

DETAIL, SHOWING THE INTERIOR.

HEAD PIECE, NO HEAD.

THE HEAD PIECE.

FRONT VIEW.

SIDE VIEW.


SIDE VIEW, AGAIN.

TAKE IT TO THE HEAD.

FULL


THE TEXTURE.

Conclusion.
There was interpretation, which was allowed to expedite the time, allow for fluidity and explore interpretation, as one to the other to the other.

Things were scarificed in the cause of interpretation, economics and time, which may or may not have worked in the best interest of the design. In the end the aesthetics of the performance has changed, morphed into an interesting conceptualization of another. Which is still politcally charged with certain characteristics from that interpretation. 

Another story evolved. Which speaks  to a modernity of materiality, neo liberal politics and consumption. 

There is the understanding that this will act as a prototype for the constuction of the final design. This will have to be confirmed.

Which will involve much more hands on work that will see the kind of texture, we're looking for. see the above photo.

The Head Bangger Piece, will be performed either Wednesday 2nd or Friday 4th of March 2011.

GOT TO CALL DEM.

   

Tuesday, March 1, 2011

DAY 2, BUILDING THE REHUMAN SEAT. MONDAY 28TH FEBRUARY 2011


THE RED MODEL.
The integrity of design. At the end of the process how will the seat perform and will it present the concerns of the original premise. 

THE RED MODEL. SIDE PROFILE.

THE FULL VIEW OF THE SEAT.
The material, for the horizontal- mild steel and galvanize pipe as the laterals. 

THE SEAT AS IT IS.

TOP VIEW OF SEAT.
Here, we will place an upholstered seat. ?

DETAIL OF SEAT.

CROSS BAR STABILIZERS, DETAIL.

FRONT VIEW.

DETAIL OF SEAT, IN THE ROUND.

SIDE PROFILE. LEFT.

SIDE PROFILE, RIGHT SIDE.

 DIEGO MARTIN VALLEY.
Here along the main Road, the simple work continues into the day.

FRONT VIEW OF THE WORKSHOP. 

TOP VIEW OF SEAT.


TOP VIEW SEAT, DETAIL.

There are several concerns.
1.The installation of the installation bars for the table. Securing it structurally to the bar, that it will not rock or bend, when weight is placed on it. Even a nefarious soul places dem bottocks apon the table. 

2. We will have to look at how the personal relationshipp is kept when the protagonist takes part in the performance.