The taste of “On the Margin of History”
21st International Conference Consciousness Reframed 2019 in Porto, Portugal from June 6-8, 2019
Installation: video poem and augmented reality (AR)
About the conference, from the website:
“The conference will look at the nature of artificial thought, and forms of intelligence in nature – charted through aspects of transdisciplinary creative practice and theory in our planetary culture.
Just as new paradigms of feeling and communication are beginning to form around our interaction with life at all levels of our perception, from plants and trees to fungi and bacteria, we may see matter as inhabited mind, media as necessarily moist, and technology as a tool of the Tao.
Thought is spreading through all our systems, places and products. We need cities that are not only smart but sensitive: schools that think, roads that remember, buildings that feel. art that is as much extra-sensory as interpersonal.
Our consciousness is both reframing and reforming.”
MIX2019 Experiential Storytelling in Bath, UK from July 1-2, 2019
Panel discussion where we will talk about our collaborative process and creative juices.
About the conference, from the website:
“Experiential storytelling encompasses works that foreground the experience of the audience or reader. Works that offer authentic and often personalised experiences are becoming increasingly prevalent and this year MIX offers opportunities to think about what that might mean for digitally-mediated narratives. Additional themes for this year’s conference include immersion and publishing; we define these themes broadly and are interested in how new forms of storytelling can respond to and learn from emerging works that explore the potential of immersive technologies.”
ELO (Electronic Literature Organization) Conference 2019 in Cork, Ireland from July 15-17, 2019
Exhibition of the video poem, hosted at the Glucksman Gallery, a prestigious national institution of the contemporary arts. The exhibition will be open from July 10th to allow the wider audience to experience the art.
About the event from the website:
“The theme for ELO2019 #ELOcork is “peripheries”: delegates are invited to explore the edges of literary and digital culture, including emerging traditions, indeterminate structures and processes, fringe communities of praxis, effaced forms and genres, marginalised bodies, and perceptual failings.”
The collaboration with a poet, Mohamad Kebbewar, started as “Poetic pairings,” an event organized by Pandora’s Collective, an outreach non-profit organization, dedicated to promoting literary arts in Vancouver, Canada. We were excited to read together since our countries, Serbia and Syria, experienced similar fates. When we began weaving our verses together, we realized how war made us both feel the same, helpless, frightened, and lost. Our lines overlapped, our words chased each other on the paper. Even our voices echoed with the same emptiness. Mohamad and I recognized how a human soul can be peeled, layer by layer, and revealed through art. We got a lot of feedback from our audience about our work together. Thanks to the generous offer of Pamela Bentley’s time, space and editing skills, we made a good audio recording of our poem at the Co-op Radio studio.
The need to go further and investigate how art enables better understanding of narrative strategies, and the functioning of intuition led us to the idea of a visual poem, and Augmented Reality installation that would challenge new paradigms of feeling and communication. We connected with an artist and writer, Mary McDonald, whose interests are in posing poetry narrative against and within layers of sound, silence, image, and video.
“Margins of history” is a witness of the destruction of ancient history and the sharp demographic change in Aleppo, a city of six million people that lost ninety percent of its residents over the course of six years, and then filled with new people. It is the witness of the breakdown of former Yugoslavia, culminating in the NATO bombing of Serbia where silence was the only response to events that had left people in shock and disbelief. It is a transdisciplinary project that considers the tensions between personal voice and story and the possibilities of the digital visual to suggest and reinforce false narratives and/or to create understandings through metaphor, playing with all levels of our perception. It attempts to reframe our consciousness to find empathy and closeness, humanity in chaos.
Mobile electronic technology is used to employ symbolic storytelling in order to tell the true cost of war — the reverberating loss of the destruction of people and place, family, heritage, traditions, and cultures. Utilizing stone and clay, the oldest forms for written record as image and metaphor, through direct photo and video manipulation layers have been created from still images, clips of slow motion, time lapse, hyper lapse, stop motion, gifs, lines of light, double exposure, long exposure, motion graphics, and text. Fragmented layers of sound and image reproduce a sense of displacement and erasure. Photographs, video, text, music are manipulated by hand — distorted, skewed, glitched, inverted, repeated, placed in juxtaposition and superimposition. The AR exhibit consists of a mosaic of stills which when viewed with the AR app on a smartphone become short videos. These brief fragments of poem and film enhance the experience of the surreal and feelings of displacement. Text is digitally exploded, creating reverberating echoes of lost words, lost truths. Writing and artistic creation is a kind of healing, processing, and letting go of war and decomposition of life. Even when we chose to leave them behind, they never leave us.
Presentations, exhibitions and installations
We are going to present our collaborative work in Europe this summer. See where we are going.
Sneak peak into the video in making
Here are some initial sequences.