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Olympus OM-20. Vivitar 35-200mm f/3.0 Macro Lens. Redscaled AGFA Vista Plus 200iso changed to 125iso. Developed in Tetenal Colortec C-41 Rapid Negative Kit. Scanned with Epson 4490. Adjusted in Efex Analog Pro 2. Only one foto used.
37184 at Mallaig.
A trio of photos from a visit to Scotland in (i think) 1984. 37184 is on hand to provide power for a run between Fort William and Mallaig.
Built as Works Number EE/RSH3362/8405 1963 As D6884 it was initially allocated to Landore before moving north to Eastfield in 1982. It remained a Scottish engine until 1995 when it was allocated to Bescot before being withdrawn in 1997 and cutup at TJ Thomsons of Stockton on 1st October 2001.
In this work, I’m abstracting participatory behaviors related to solitary confinement. I’m looking at solitary confinement as the punishment system inside of any American prison; an internal punishment routine that helps American prisons incarcerate people with an ‘easier process’ for creating a ‘more successfully managed incarcerated population'. . . Currently somewhere around 80,000 people in the American prison system are held in solitary confinement, as a method of controlling the behavior of all imprisoned persons.
Abstracting, what does that mean? There is an inherent trauma in reducing a person to a number, placing that person into the penal system and, later, solitary confinement. When I sample audio recordings of people in this system saying numbers, and lift those words from their context in full sentences, the accumulated samples of people saying numbers shows us the entrenched habits, the habitual ‘how’ of the system re-inscribing itself in its day to day process through ritual participatory behaviors around numbers.
I do not show actual prisoners in the work, connecting their personal identity to this situation. As audience members, we want to think we have empathy. We also have deeply conditioned avoidance when we are confronted with the image of a stranger in pain. We want to turn away from seeing the prisoner’s dehumanized condition inside the system.
As such, I pull the image of the person being dehumanized out of the work, so that we can experience only evidence of the behaviors applied to dehumanize them. We examine [ The Devil’s Abacus ].
Viewer-participants will discover other isolated aspects of routines and learned behaviors associated with solitary confinement. There will be reference to the traumatic self-harm this system encourages among its subjects. I am employing a variety of cutup techniques to found media, and mixing it with created content using generative computer approaches, i.e. creating a systemic consideration of the evidence of the behaviors that re-inscribe the system in question.
It will be disorienting, atmospheric, dark, and surprising. The media content? Projected light and sound sculpture, live instrumental performance, and audience participation.
August 26, MLE fringe fest, multimedia interactive performance with #PresentMusic at Vogel Theater 5:45 PM
I hope to see you there!
still image from animation for the multimedia artwork The Devil's Abacus (c) 2018 Jessica Fenlon
25 tracks - including new and exclusive material from my good friends Wired XRP, Digital Skunk, Sober Man's Secret, Parallax Faction, Cryin' Queerwolf, JD Savage and Nightwolf... And it's free! (Though if you wanna pay something, please do - all proceeds go to XRP Radio...)
"I am from brittle knives, where cuts rather end up like bruises than mutilated meat on a butcher’s slab, from bloody veins where rivers would become oceans and seas of
iron ore
I am from hollow hearts, where softless beats from skinless drums resonated on dry ribcages, from resuscitators so unelectric they would pluck chords like
flat harps
I am from stained tears, a resource so scarce yet so bountiful on spotless skins of varied beasts and animals alike, from pupils too undilated to tell whether if it were heaven or a
mother’s womb
I am from skinny fingers, where sad birds may perch on them singing about ecstasy, the only drug that could keep them sane, from broken needles causing bones to become so thin they would press on minds
making them dull
Beneath the soil where I might lie, a skeleton with a fractured skull mouthing ‘This too shall pass’ may cause polarization in my feet so I could stand straighter on an Earth that wasn’t, I am from an attractive monster, where their only home will be in the dark under an unmade bed, not soil, where they know they will
never grow old. "
-Joshua Lam
you are sleeping. you do not want to believe. // glitched text that was cutup from the internet, with sound.
37184 at Mallaig.
A trio of photos from a visit to Scotland in (i think) 1984. 37184 is on hand to provide power for a run between Fort William and Mallaig.
Built as Works Number EE/RSH3362/8405 1963 As D6884 it was initially allocated to Landore before moving north to Eastfield in 1982. It remained a Scottish engine until 1995 when it was allocated to Bescot before being withdrawn in 1997 and cutup at TJ Thomsons of Stockton on 1st October 2001.
Cut-up video featuring footage of Holly Cock, Jasmine Salome and Luis Hatred (of tranny punk group Six Inch Killaz) being interviewed by photographer Pearl in the toilets of Club 59, Mayfair, London; 07 Aug 1997. Cut-up by Luis Drayton; 06 Jan 2010.
Find out more about Six Inch Killaz here...
Collaboration with Jason Novak. Montage completed using cut-out words sent by Jason Novak; 02/11/13.
Animation (so it's a slideshow - sue me!) created 2007. Music: De La Soul: "Dtrickly Dan Stukie". Wanna see more of my wonderful videos? Then get yourself over to my YouTube channel where you can indulge yourself till your heart's content!
Oh, and don't forget to download your free Conversion Therapy screensaver...
By 1990 sectorisation had arrived and the contrast between the old BR corporate blue and the new 2 tone grey with sector markings is clearly seen here at Saltley Depot on Saturday morning, the 28th April 1990. The locos are 47313, 47287, 47150 and 37213 as they stand in Saltley yard.
47313 was numbered under TOPS in 03/74 and kept this number throughout the rest of its life! It was unofficially named 'Curlew' at Tinsley Depot in 11/89 before being repainted and allocated to the Railfreight Distribution sector. By 02/99 it had been withdrawn but reinstated for short periods before being finally cutup at Kingsbury scrapyard in 11/07.
Source class 47 group.
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This was now the third time old man Walters the pharmacist
gave Doris the wrong prescription.
She wanted to call someone, but forgot how to use the phone.
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Built in 1871, Souter Lighthouse, Marsden, UK.
In its day, Souter was the most technologically advanced lighthouse in the world, the first to be powered by electricity.
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#FacePaint #BodyPaint #DiamondFX #makeup #artist #art s #designs #ArtandBodyStudios #BodyPaintingMichigan #bodyandartstudios #FacePaintStore #cheapfacepaints #makeupartist #BodyPaintingKalamazoo #MichiganBodyPainter #BodyPainter
#icrysparkles #motd #bleeding #cutup #paleasfuck #dontcallmehannah #bleedglitter #alien #noreally #pastelhair #sparkles #blonde #glitter #girlswithpiercings #blue #pastel #greeneyes #face #pinkhair #tears #dyedhair #eotd #lotd #funny #lilbro #likeaboss #posing #moustache #painting #FacePaint #Supplies #BodyPaint #Instructor #DiamondFX #rainbowcake #low #bestprice #cheap #sale #makeup #artist #art #neon #fan #rake #sponges #designs #Kalamazoo #Michigan #Clash #ArtandBodyStudios #BodyPaintingMichigan #bodyandartstudios #FacePaintStore #cheapfacepaints #makeupartist #neonboypaintin #BodyPaintingKalamazoo #MichiganBodyPainter #BodyPainter
Paired with 33025 at Woking in charge of a ballast train.
Built by Birmingham Railway Carriage & Locomotive and new in August 1961 as D6565.Renumbered in January 1974.
From April 1991 until January 1993 carried the name Spitfire,withdrawn the following month.Met its end at its former depot of Eastleigh,cut up by MRJ Philips in February 1997.
2 8 92
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Cut-up video utilising footage from ludicous anti-drugs film "Drugs Are Like That" and "Strait-jacket" (1964) starring Joan Crawford, amongst others... Video created: 28/12/09. Music: Karlheinz Stockhausen: "Studie I"
my father always
blew up or backfired
mother, on the other hand
sacrificed any idea
of expanding horizons
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Collaboration with dou_ble_you. Original montage (utilising cartoons by Luis Drayton) by dou_ble_you; 16/04/10. Completed by Luis Drayton; 25/05/10.