Artchatpodcast 094

Recorded: 29 July, 2013 Participants: Steve Harlow, Emory Holmes II, Jim "Jimmy The Peach" Aaron, Mary Burns, Allan Ludwig. Mary asks is there one project that you want to complete before you die? Allan says his photography is ongoing and complete each time he takes a shot. He is taking photos of circles, anything with a circle on it. He has no ambition to publish any of them beyond putting them up on his Flickr site. It's too much of a hassle to contact publishers and doing gallery shows is not worth the money it takes to prepare them. He never got enough sales to cover the costs. Allan says he's ok with what he's doing now. Mary says she hadn't considered that perspective. She admires that he's caught up. Steve says he'd like to have a gallery show before he dies, he'd like to be in a nice public space with 12 to 15 of his completed paintings. One project he'd like to do is a collaborative image made on the internet by a group of up to 100 artists to be displayed live on a large connected screen. His desire is that all the artists work together to make the overall image meaningful. Mary thinks that it sounds ambitious and Steve could accomplish it, although the interaction aspect of it would be difficult. She says Steve is, "such a community guy, putting tenticles out everywhere." Steve says says, while that's true, it is contradicted by his contrary nature. "I don't follow other people's suggestions well." Mary says Steve is a nice person in disguise. Allan thinks the idea is fabulous, the difficulty would not be in getting the people together, nor the art, but in the technology. Steve says the technology is actually quite simple, it is only a HTML table with each cell filled with a linked image. "I could write the code for it an an hour," he says. Emory says he'd like to write a fictionalized account of his family's travails in the mid 20th Century "Jim Crow" American South and his parents' move to California with his siblings. Before his Aunts, Uncles, and parents died, he recorded their life narratives. He'd like to weave those stories into a family saga. He says his writing is so quirky, that he has a lot of learning to do before he can do justice to the story. Mary asks if Emory means his method of writing is quirky or is it his "dazzling" style that's quirky? Emory answers that it's the odd way he constructs the line and the way he uses language. He is following an inner voice. He wants to get to a place where he can reconcile what he wants to say with what people hear in his commentary. Allan says it seems to be an awfully big project, maybe Emory could edit together the audio recordings and let his family members speak for themselves. Jim would like to chronical a journey that has no destination. He'd like to accurately describe how people look and talk. He'd like to write each day along the way. He got a taste for this type of travel writing on a trip he took last spring, but thinks on that trip he was too concerned with getting across the country. There's a lot of places in Northern United States he hasn't been and would like to be in, and he's drawn to the West. Since he was raised in the San Joaquin Valley of California, in Bakersfield, he'd like to go there to view it with his adult eyes. In his family, he's now the only living member of his generation. He won't be like Walt Griswold going to Wally World. He wants the journey, not destinations. Jim says he would create text, photos, audio and video recordings. Steve asks if he would publish everyday, Jim answers, yes. "Some of the best conversations I've had have been with strangers," Jim says, "no past, no future, just two people." Mary says there is a novel she's written that's big and sad, she'd like to rewrite it. She'd like to know she's done the best she can. It's about death in general and about a particular death. She's brought a lot of mythology to it, which was interesting to research. Emory asks if it is sad because it concerns death? Mary says it has a morose tone. She wrote it about ten years ago and hasn't looked at it for a few years. She will take it to Quebec with her in the Fall to see if she's ready to revise it. She says it was important to her at the time she wrote it. "I don't want to die without giving it another go," Mary concludes. Steve thinks Jim could immediately publish each piece he writes, plays, or makes, so his chronicle is always complete. So it's like a serialization? Jim asks. Mary says she's been thinking of serializations, someone just sent her a Roddy Doyle serialized novel, from his blog. If a writer is writing and publishing each day, when do is their time for rewrites? Jim says it would be really risky to not have time to rewrite. The rewriting could take place before the daily publication and at the end of the journey, the published work could be rewritten and publish it again, Steve suggests. Jim says, "even better, make other people edit it." "Wouldn't such a project, inherently, have a beginning, middle and end," Emory asks? Jim says anything he chronicled at this stage of his life would be part of the end. Each day could have a beginning, a middle, and an end. In the past, he's always traveled to get there, when he does, it's a big let down. He'd like this journey to be, maybe, small let-downs at the end of each day. This is a very selfish thing to do, Jim says. He couldn't do it if his wife was with him. Steve wonders if it could be a project he could do with his wife. Jim doesn't think so. Mary agrees, he would have to pay attention to the project, not be distracted. Steve says, in theory, perhaps with somebody else, it could be a collaboration project, two of three people writing the story together of the travels they are having together. Mary says, that's you again, Steve, with your tentacles out. She asks everyone what they think of Emory's concern that his writing style would not be appropriate for telling his family story. Allan says that if Emory already has recordings of the family telling their story in their own words, it is complete. All he needs is a format to present the recordings. Steve remembered that Emory said he wanted to write a fiction based on his family's story. If that's what he wants, an audio documentary wouldn't do. Emory says that's right. There are elements of the story that are controversial in his family. His grandfather was murdered in the 1930s when the TVA gave him a forman position over white workers in Alabama. The daughter, Emory's mother, was deeply affected by it and she made considerable efforts to find the killers. Some of the family members are implicated. Mary says Emory's style has him searching for the explosive word and he may take his time getting where he's going, but if he maps it out in the first chapter, the reader will patient, it's sounds, to her, like a compelling story. She encourages Emory to write it. Emory says he is convinced that fiction allows for a truer truth. He wants to find a way to contain all the truths, elevating the events and characters so readers can comprehend, but without alienating those who may be complicit. Mary says it sounds like a great writing challenge, giving an opportunity to use alternating POVs and long footnotes that question the main text. She's reading Ruth Ozeki, "A Tale for The Time Being," she uses alternating narrators. It opens up the art of fiction writing. It is a great challenge. In her, not yet published, historical novel, "Presto!," Mary says she face similar challenges. The story is based on her Grandmother's experience as a young Irish immigrant during the week of Chicago Race Riot of 1919. Mary wrote what she thought was true, but it didn't come from her Grandmother, she hopes her family does not think she knows something about the Grandmother that she doesn't. Mary asks Steve how his collaborative web art would work, how would he organize it? Steve says all participants can see the overall work, but only control their part of it. The goal is to produce a meaningful piece of visual art, not an index of artists. Emory says it sounds symphonic. Steve says it seems a lot like an orchestra to him, too. Jim asks if there would need to be an editor. Steve thinks so, too, a conductor, at least. Jim says the screen could enlarge some of the squares of a grid, move them to the fore, move them back, creating more movement and guided attention. Steve says he'd like the screen to function as a painting, not a television show. However, the artists involved could change what they display individually or in concert with others. There could be a series of rehearsed, cooperative changes that could be performed during the time of an opening or other event. Mary suggest Steve could do a sample demonstration of the idea using fewer artists. Steve said, it could be done with fewer squares, as well. Allan remembers that surrealist artists of the 1920s and 30s did the "exquisite corpse" where one piece of paper is folded many times, so each would have a blank area to draw on, without seeing what the others had done on their folds, until the end when it is opened up and the result would be random collection of various drawing styles and subjects. Steve points out that in his plan, all can see the overall image and what the others have done and what their contributions effect is on the whole. Emory asks Allan what discoveries he makes as he's out photographing. Allan says he's really liking the circles because they have no beginning or end, continuous. He's found that circles are often used to contain religious imagery. Mary says she'd like to be in Allan's head when he steps out his door to photograph. He has a goal, but it's not strict. It sounds fascinating to pick something as general as circles and see where that that goes. Emory asks Allan how he arrived at the subject matter of circles. Allan answers, he didn't arrive at it, suddenly there they were. And they were everywhere. On Mott Street there is a radiating Je

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