input highlight: no one remembers everything to twilight memories
input highlight: woven flesh
Biba Sakman Fanhigåyan Guåhan: May 3, 2017
Call and Response (Changing title: 2010 to now) by Brian Fuata April 2017
Reconstitution April 23 to May 27, 2017 LAXART
for "Some Phrases", exhibition by Lee Relvas
April 13 - May 21, 2017 CALLICOON NYC
Curving along a section, shifting gradually to an edge. Skimming and right away off! Focus is stalled midway between things I might see. Other things emerge from the pause in motor control. The open room mixes, several recollections at once, and persons within persons playing in a semi-documentary. Each actor experiences change yet no one knows who they belong to. Big city urgency pierces the shortened focal bubble. Return to the edge. Coarse to fine, points in a line.
Up a bend, divisions to a facet, knowing that there are many more. An eyelid snap. Shift, shift the eyeball. Snap. That barely noticeable interruption of light. Go facet to taper. Bend, and flat again. Splitting, then singular all over again like yes and none. Blink.
Sand and hardness scraping the diving momentum against a body. Floating particles bound by the shallow, watery layer on an iris.
The tight rope walker movie may have triggered vertigo. I drooped towards my left where the spinning was heaviest. Around 10 pm. I apologized profusely to my neighbor. “Could you take me to the hospital?” Dizzy and teetering. It was someone else’s steps that shook the floor.
At center, from pose I imagine circles. Each band, tight and touching, a vision as solid as air, and extending beyond the floor and past the walls: tracks for charting movement. I am a wiggly line, both congruent and perpendicular, and producing curves. It’s fun here. Curving and animating. Stretching ratios, shortening dimensions, inverting depths in a single ray. I moisten my eyes, inhale, I think. And the rays reset at each point along the tracks.
From another pose, and another. I imagine intersections at circles. Each band, dense and touching, a vision as solid as air. But now inward, toward and away. At perpendicularity, there it is again, animation. Stretching, shortening, upside-downing in a ray. Blinking, exhaling. I wonder about what I missed. And the rays reset.
A concave space below the top of a head. This time an arm. Back to head, a wooden enclosure. The framed view just misses the windowpane and the things outside. I expect to see a bird, red like lipstick. There are other movements. The limits of the spherical lens touch a corner. Wall into floor. There may not be dust but the mind completes any inquiries.
Waves on piled rocks. The inside of my nose is wet. Someone mentioned that the place is more than just a fishpond. The opening to deeper sea is described as a navel and the expanse of these bodies is completed with my intestines.
Operation Hardtack I
Of Drowning in To and From—Ocean: "Decline in global oceanic oxygen content during the past five decades"
Simple Cylindrical Supports to Columns to Plumes: "Broad plumes rooted at the base of the Earth's mantle beneath major hotspots"
Bioaccumulation of persistent organic pollutants in the deepest ocean fauna
Lodged-dislodged: "Blue History"
Storyboard—A Journal of Pacific Imagery
Release date: May 17, 2017, Published by the DIVISION OF ENGLISH AND APPLIED LINGUISTICS IN THE COLLEGE OF LIBERAL ARTS AND SOCIAL SCIENCES OF THE UNIVERSITY OF GUAM
Between Words and Silence: The Work of Translation January 29, 2017 to April 2, 2017 ARMORY CENTER FOR THE ARTS
Lodged Peak: 500 lb. bomb
Bleeding as Agency: Agent Orange
at ARTIST CURATED PROJECTS January 15, 2017
especially when Ofeng says
Burning Ships In Saipan Area, August 1944
Ash, smoke, gravity, lightness, air, dispersion, placement, embedding, lodging, distinctions, convergence, sponging, agency, edges, peaks, arcs, rims, rings, bulbs, light emission, digital imagery, machine vision, zooming, extraction, memory, diaspora . . .
Seismogram of banded tremor associated with intermittent Pagan ash emissions. Recorded on station PAGV, 12 June 1993
Cultural Rupture and Indigeneity: The Challenge of (Re)visioning “Place” in the Pacific, David Welchman Gegeo
"L(o)osing the Edge" (2001)
The Contemporary Pacific, Volume 13, Number 2, Fall 2001, pp. 343-365
"Where is the edge in the Pacific? Is it on a beach—à la Greg Dening? (1988). Is it on the horizon as Joakim Peter suggests? (2001). Is it on Vince Diaz’s tectonic plates? (1996). Is it on the rim? From the islands it looks as if everything that’s worth having or doing is in Los Angeles, Seattle, Vancouver, perhaps in Honolulu, maybe in Brisbane, certainly in Sydney, undoubtedly in Auckland. All the hip cool happenings are on the edge of the Pacific. From the edge, the islands look restricting. Look backward. Look embarrassing. Like FOB (fresh off the boat) or FOP. From the edge you can take what you want from the islands—the colors, the food, the memories. You can leave what you don’t want behind—the politics, the problems, the obligations. From the edge, the islands can sometimes look liberating. Look exciting. Look promising. Like Fiji. Or the Solomons. From the edge you can see what you want to see in the islands—the heroes, the rebels, the freedom fighters . You can close your eyes to whatever you don’t want to see—the jaded businesspeople, frustrated politicians, hopelessly unemployed men. Is the edge always held at the edges of the Pacific? Is it possible to have an edge in the world’s largest ocean? Epeli Hau‘ofa says our edge is the ocean (Waddell, Naidu, and Hau‘ofa 1993). No other people have had their history shaped so much by an ocean. The islands of Kiribati and Tuvalu may not exist in thirty years’ time. The ocean has the edge."
Tinian: "We believed in America"
Bikini was just the beginning, bombs still threaten the islanders
"Beta Cherry" at Beta Main, Los Angeles 2016. Director: Allison Agsten.
Haka in solidarity with Mni Wiconi
"Untitled (A MENSA Halloween)"
Thursday October 29-30, 2016 at 621 S ANDERSON ST 3E. A group show dedicated to Larry Johnson's "Untitled (A MENSA Halloween), 1993
Curated by George Egerton-Warburton. Works by Daniel Aloisio, Sid M. Duenas, Lauren Davis Fisher, George Egerton-Warburton, Brian Fuata, Monica's Gallery, Helen Johnson, Bryan Morello, Rowan Oliver
Talanoa Research Methodology by Timote M. Vaioleti
Abelam Yam Ceremonies—Lecture by Ludovic Coupaye
Completion of online course on Pacific Studies from Oceania Centre for Arts, Culture & Pacific Studies, University of the South Pacific, Suva, Fiji, 2016. (Lecture by Teresia Teaiwa)
Nerve Ending Poem Forms of Education: I Couldn’t Get a Sense of It, INCA Press
The battle continues, 50 years after first test at Mururoa
Radiation on island exceeds safety standards nearly 60 years after nuclear tests
Thursday June 9, 2016
at SAFE SPACE
Ti is a negative marker in Chamoru that means not. Ti usually converts an entire positive clause to a negative:
Siña hit manhanao pa’go. => Ti siña hit manhanao pa’go. /
We can go now. => We can’t go now.
The exhibition title constitutes the qualification of a thing and a negation of it. It is a process of support and refusal that was employed in the construction of the works on display. The word Terror is a placeholder; lodged within a space and susceptible to invasion by other words.
Our Sea of Islands by Epeli Hau'Ofa, The Contemporary Pacific, Volume 6, Number 1, Spring 1994, 147–161.
Military officials to tour Tinian
Defense bill with NMI provisions passes US House
NMI consultants: Military not above the law; draft EIS not in compliance with law
The New Oceania. Narrated by Albert Wendt. Produced and Directed by Shirley Horrocks. Point of View Productions 2005
A “Voice to Sing”: Rongelapese Musical Activism and the Production of Nuclear Knowledge
Jessica A. Schwartz