I wrote the artist's statement directly into UCLA's text field.
2023-02-06 12:43PM EST
This is not my real artist's statement, but a diary that reflects on the relations and obligations therein
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2023-03-02 7:40 AM EST
if an arts practice is to consider the production of new forms of subjectivity relative to institutions and their underlying digital substrates, the gendered and racialized hierarchies of competition and novelty leave "personal representation" open to an increasing number of catastrophic interpretations. On the one hand, we as individual artists are pressured to produce work in a streak of exhibitions that produce the perception of a stable career made robust against irrelevance. But if the adage "good spirit is dry" is to mean anything, it means that one cannot possibly make oneself relevant at every point if one is to remain creative.
interconnectedness for high awareness of the points from which things will be different from before...
2023-13-02 3:44PM EST
Wiki Tutorial, 2023. Screen record for John Belknap.
This is the TLDR; I'm not emailing Andrea. Eric Dobbs jokingly suggested installing a network surveillance plugin so I can see client requests direct from LA. It occurred to me later that if I hadn't been for a lack of a better word hexed by being under such intense persistent socially administered and technologically horizoned personal scrutiny for most of the year, I might feel more comfortable doing that and emailed Andrea sooner.
This brings to mind the reasons I stated in the essays, which I wonder how many people think about being the core of the application given that out of the four requirements three of them are writing. The last time I was applying to art school was in 2010. Looking over my portfolio submissions from that time my aptitude for copywriting and visual marketing is what stands out more than the painting. At the same time, those paintings were good. They got me here.
At Amalia's opening the other week I saw Thea on the wall and texted her a picture of the one that looked the most auratic, which was hers. I am not a connoisseur of caricature drawing but was a caricature artist on the San Antonio Riverwalk summer before I moved to NYC. I made $2000. Half of that was from selling the paintings I made at San Antonio College to collectors.
I was not good at caricature drawings because I wanted to be good at figure drawing. It's not apparent on the graduate application that I spent six years at a city college and also a Classical atelier before moving to NYC for a gap decade.
During that decade, I served as a media activist on the OWS tweetboat 
; while I'm not documented as a first responder and primary organizer what's fabulous, from a professional standpoint, is that anyone on a spreadsheet at Zuccotti park is nowhere to be found by the time someone gets around to making a spreadsheet. In activism, the burnout is higher than the turnover: Victoria Sobel's name is on the bottom because she was so core to the movement, not just Free Cooper, but the media teams: my memory is of her literally being attached to a bike. She was a mean lean desiring machine.
YOUTUBE -5N4zWCEQjs The longer prehistory of Occupy has been variously traced back to anti-austerity protests in Europe, the Arab Spring, and the London riots — with some of its roots stretching all the way to alter-globalization in the late 1990s. Occupy can be understood both in this broader context of radicalization going on throughout the world at the time and as a phenomenon in its own right. Today Occupy stands at a crossroads. Our moment provides a brief vantage point from which one might reflect upon what the Occupy movement has been to date (its victories, its failures, its enduring impact), whether it still exists at present, and — if so so — what are the tasks that remain for it to fulfill moving forward? A little over a month on from #S17, and only three weeks away from the US elections, we in the Platypus Affiliated Society thus ask our panelists to consider: 1. What kinds of social transformation has Occupy brought about? What kinds of social conflicts remain unresolved? Where has it triumphed, and where has it fallen short? 2. How, if at all, has Occupy changed your political outlook? Has it modified the kinds of goals you hope to achieve through your activism? And has your approach toward organizing a mass movement in order to achieve these goals shifted at all? 3. What sort of new political possibilities has Occupy opened up that beforehand seemed impossible? Conversely, is there anything once felt had been politically possible at Occupy's outset but now no longer feel is possible? AUDIO: archive.org/details/AYearAMonthAndADayLookingBackOnOccupy PLEASE NOTE: Due to technical difficulties, the last five minutes of this panel were not recorded on either audio or video. We apologize for the inconvenience. HOSTED BY: The Platypus Affiliated Society MODERATOR: Lisa Montanarelli (Writers for the 99%, Platypus Affiliated Society) is an author and activist who participated in the occupation of Zuccotti Park and collaborated with more than 50 other writers and researchers on the book Occupying Wall Street. She has since become a member of Platypus. FEATURED PANELISTS: Fritz Tucker (Occupier, journalist) is a native Brooklynite, writer, activist, theorist, and researcher of people's movements the world over, from the US to Nepal. Last year he authored the article "A Chill Descends on Occupy Wall Street: The Leaders of an Allegedly Leaderless Movement." Victoria Sobel (Media & Finance working groups) is an activist and major organizer within the Occupy movement in New York, especially during its two months in Zuccotti Park. Shyam Khanna (Strike Debt) is an organizer of Strike Debt, a prominent outgrowth of the Occupy movement. David Haack (Occupy Your Workplace) is an underemployed artist an anticorporate activist who lives in New York City. He is also a leading organizer within the Occupy Your Workplace working group, and author of "How the Occupy movement won me over" (published in Britain's The Guardian) and "The New Left Zombie is Dead! Long Live Occupy!" (published in Platypus Review 45). Victoria Campbell (Occupier, Pacifica's Occupy Wall Street Radio show on WBAI) is an artist and activist involved with Occupy Wall Street, also a host on Pacifica's Occupy Wall Street Radio show. Curious to learn more about Platypus? E-mail coordinator@platypus1917.org to be connected with a chapter in your area. The Platypus Affiliated Society organizes reading groups, public fora, research, and journalism focused on problems and tasks inherited from the "Old" (1920s-30s), "New" (1960s-70s) and post-political (1980s-90s) Left, for the possibilities of emancipatory politics today.
2023-22-01 6:25PM EST
The art market made us 2-dimensional women. Added female value or exquisite hand-eye coordination? In the moments we let ourselves really work together we were 4-Dimensional in the heat of one enlightenment after the next.
My documentation wasn't so much "all over the place" but in one place, which was a relationship: Campbell Carolan. Think of all the messy ownership conflicts that can happen in a divorce and then apply that to a 10 year collaboration between two powerfully independent women who kind of look alike. The hoarding of documentation and reprisals I kind of saw coming. Slapping copyrights on appropriation art I didn't really.
Oh, that was easy. A Selected Work Template can just be architected like a github repository. I probably should have had that idea sooner. Though for that to happen naturally I'd have to spend a lot more time thinking about things like I'm dissecting insects.
2023-01-21 3:25AM EST
Sometimes our differences made good subject matter: Carolan has always had greater purchasing power and I've always had greater resources. Ha-ha! Rabbits out of hats. But purchasing power has more leverage at certain times than others. And resources mean different things depending on who provides them. For as long as I've worked in open-source, Carolan has worked a 9-5.
But the things we made together were a whole different trip down the antithesis and then some: if there were paintings, there were crates. If there were crates, there was an art handler and if there were art handlers there was some kind of dollhouse around that, a huge conflict but maybe also geopolitical stakes. There was a higher dimension of invention. We'd done it for so long we'd learned it. Causal relationships, or something. Maybe painting with morse code.
I can't believe that a single man could destroy a collaboration as empowered as Campbell Carolan. I can't believe that out of all the bad fights we've had that we'd choose to not speak instead of fight it out in the residency we'd earned. We were both responsible for missed communication and boundaries crossed on both sides, but under what conditions does one weaponize mistakes?
2022 was supposed to be our year. Campbell Carolan was finally starting to get noticed. And when we broke up people were sad. We didn't have time to be sad. We were too busy being exploited. But suddenly, there was the audience we didn't know we had. Now we will have to be bad artists alone.
My boyfriend used me like a natural resource but when the economic order re-established itself he used me poorly. I don't know if the women around me identified with me in my delusion, and so hated me, or identified with him in his incompetence; his unwillingness to undertake any social labor beyond that which he chose, and so could no longer afford to love me. I don't believe that a man could destroy Campbell Carolan but I think that one could exploit us better by driving us apart.
The people I survived that tragedy with were the people closest to me in my life because my entire world was a white cube with them in it. They were like air and water. But it was economic in the last instance because the mutually exclusive distinction of essential work and inessential work devalued both.
Mmmm. Institutionally sanctioned egos. But a weird kind. Not the kind you can sage out with some hippies in the atrium. The kind that makes Valie Export exist. Bless this mess.
Here is what I have learned about a real emergency: it's not the drinking water. I was relatively calm during the pandemic. In Quezon City it was martial law and tap water. The sound of ambulances in the first world makes everyone go sane on command. Undeniably things like ""how we use I-statements"" start to look less so. I found myself in a situation under which I couldn't interpret anger, or aggression, or emotional insecurity, or monogamy, the way I was used to. In the ways that I choosed.
> An Extreme Programming Practice in which two engineers participate in one development effort at one workstation. Each member performs the action the other is not currently doing: While one types in Unit Tests the other thinks about the class that will satisfy the test, for example. A single, unsubstantiated, unscientific, undergraduate's survey has shown that, after training for the "People Skills" involved, two programmers are more than twice as productive as one for a given task.
For me to be able to work under a single identity with another female artist represented an unprecedented artistic freedom. But what was necessary to wield it was either consensus or concurrency and we had neither. I can't believe that a man destroyed us. I think technical debt probably destroyed us.
Both of us are 49% bad people and probably bad artists too. But when there were two of us at least one of us was good. We were the eternal irony of the community. That she was the opener and I was the closer was only our appearance. It's how she was the heel and I was the babyface when in reality she was houdini and I was the museum guide. There was no institution. There was just the means of its reproduction.
Power doesn't "work" between women the way it does between men. Neither does mastery: the violence we idolize in men we hystericize in women. Campbell Carolan didn't share distinctions in mastery in order to envelop our oppositions in some sort of Hegelian "synthesis". Campbell Carolan just made Hegel hysterical.
So ours was a real class romance. Carolan wanted her autonomy. But does she really need it? I think she always saw collaboration as a crutch; a sort of fall-back for when the solo practice doesn't come together the way one had hoped. But Micaela also had to graduate with Avery Singer. And, by extension, my ex boyfriend.
If Carolan couldn't see her dependence upon the prestige she empowered in men, I couldn't see how much my independence required it. My involvement with our mutual colleague shouldn't have escalated. Had it not been for the contraction of human and domestic resources during COVID-19 I wouldn't have been living with him.
The maximum upload size allowed for the UCLA Graduate Division Application is 5GB. Even with all these live rabbits running around, the total size of this application is under 1GB. Woohoo!
2023-01-20 4:22 PM EST
Most grad school art applications applications do not require candidates to specify what constitutes an "image", but rather provide digital assets labeled with year, title, medium, and size:
I am still not sure how to do a Selected Work template because these projects were organized as trails through well-trodden territories. This is the part of the application I spent the most time on and I hated that. Sometimes I worried that Campbell Carolan spent more time explaining things than doing them.
Here the "image" is quantified as a selection of digital assets that, when compiled via UCLA's dot-com-boom era college admissions portal, dispatches to a portable document format that can only be previewed once assets have been satisfied. This seems routine, so let's assume that these limitiations have implications for reuse.
What surprised me was how much the ontology of my Selected Work changed when I committed to representing my portfolio through hypertext protocol as opposed to the static front-end focused site builders I'd been using.
With this method of approach I've had to recognize how the contexts of the internet have fostered certain conventions and expectations around exhibition and display. I've distributed some of these thoughts by refactoring existing pages in the FedWiki ecosystem that seem to exist for similar functions, albeit not in an art context. A lot of FedWiki is teaching people how to use wiki.
This documentation had to be included in the site I was presenting as an art application. I didn't want to clog up space for the presentation of media with descriptions of how to interpret pictures with instructions for how to view them. I had to refactor some projects to make them more modular and that made them feel plastic again. Uh oh.
> The programmer who writes an interpreter will in one way or another dispatch computer resources based on symbols to be provided later. The programmer thereby gives names to resources, the names being a code that represents those resources before they are applied.
I found that I could exploit rhythms in modularity in a wiki portfolio in a similar way that Windows95 exploited rhythms in minesweeper or solitaire. Both are compelling simulations designed to empower users to right-click and drag, after which spreadsheets start to look usable. Or a GRADUATE DEGREE
2023-01-13 01:14 AM EST
After double-checking my application status, it appears that a preview of my submission is available (although not for download). Wow, this thing sure looks weird.
Hmmm. 15-20 digital asset uploads means something different than 15-20 "images". This throws a kink in my "box in a suitcase" plan (Boîte-en-valise) with sitemap graphs should assets be demanded of me. But that file format isn't supported (.svg) and the graphs are too complex to efficiently compress. ='(
Ah, well. I figure it out a few seconds before the application window closes (phew) and return to this site to log reflections. One small kink in the program, one great leap for Agile development processes!
By exploiting a bug in UCLAs college admission portal that allows me to upload my high school dual credit transcripts as a BFA, I interpret New Genres as something a kid could do while speculating on the differences between a vehicle and a medium.
By refactoring my practice quickly through the immediate contexts of a college admissions portal older than my transcripts, I render digital asset libraries functionally obsolete.
By uploading AI art to the portal, I make an exciting new vehicle a functional new medium.
By submitting a single work for consideration (a New Genres Application as a New Genre) on a Federated Wiki development release engine, I reflect upon 12 years of practicing without a license.
By documenting finished work under a CC-BY-SA 4.0 creative commons license, I share and share alike.
Later: A friend asks me if it's cheating to submit a site for a college application and then keep changing it. Ya. Probably. Art teaches you to do that. But isn't it more cheating to program New Genres in old standards?
A lively discussion on time-based mediums follows: is a video that begins and ends the same way every time you watch it really "time based"? What about a durational performance sustained beyond its representation in the form of a static document? Can't anyone applying to the program link in a website that they could then change?
I question this kind of monolithic posturing. Seems wedded to a historical stance that only makes sense after you're dead. UCLA probably set itself up for this one: if the MFA program really wanted a 'stillborn art' (Kaprow) we'd have been asked to mail in slides. But 'slide' is a gerund, too.
2023-01-10 12:09 PM EST
I can say I've learned something about creating a safe space for certain kinds of communication to land: unless the gun is in your hand and you have the penis to load it do not reach for it. It will work and then it'll be their gun. Turns out all that stuff in art school about "beauty, violence and the glory of speed" is a master discourse after all.
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Maybe it's less about changing our minds and more about creating an environment for the mistakes to cost less. I'm glad I spent time on this site and not figuring out how to look good on a stupid slippery college app standardized for painters. If I spent more than 20 minutes on the college website, I would have had to take apart the entire system. Feels fine tho, more honest than intentional. More typos than usual.
2023-01-10 12:05 AM PST
Hmmm. We seem to be dealing with a case of too much and too little. If you had to show 15 images from your desktop to get into graduate school in 15 seconds what would be in this random access portal? There's something comforting about colleges using the same interfaces as they did in 2005, but lets keep the New Genres moving.
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A wildcard dns system related to the problem of the question of value in art and blockchain.
ucla.viki.wiki