Zee Kraaszie Aorte Blog of Nicola Morton

A Love Spell: Australian and Indonesian Videos Talk to Each Other

nicolaisgreat@gmail.com (Nicola Morton) — Thu, 26 Jan 2012 12:49:00 +0000

This re-write is dedicated to the 'getting better' -ness of a friend.

I am obsessed with this footage of Kristi and Jimbo's wedding because it is a modern fairytale. Its not an extravaganza, its Kristi's 2nd marriage and she is pregnant, its not a big deal but love wins out in the end. Indonesia and Australia are plagued with interracial prejudice, that Kristi and I (orang gado2) are very much a part of (ie. the colonialism of Indonesia (until 1945), the concurrent economic exploitation of the West and migrant spouses on both sides of the border). So for me this is a dream come true.. everything works out. I can fall in love with someone who has been tortured by the constructs of my ancestor's imperialist/racist past and they can love me. I found this guilt to be an insurmountable hurdle in romance and am really glad it worked out for Kristi.

So back in Australia, Rebecca told me the story of her wedding, not an extravaganza, but also special because the wedding dress cost $10 but both of them were virgins and then I have another orang gado-gado (half SE Asian- half Australian) friend who is pregnant and I filmed her while we were talking, but the penultimate performance comes next and provides the soundtrack for the "Answer" part of the video. We draw a lipstick heart over Marisa's crushed vertebrae and she plays the planetary tuning forks, sometimes I change the order. And then as an addendum is my performance in the Qantas Lounge bathroom, I am flying back to Indonesia, and I make my wish, and write the Bahasa Indonesia wedding vow on my thigh. Added are quotes from the Qu'ran which is a text that is often used to support a nation's path to overthrow an imperial power but unfortunately can also incur racial prejudice. Love wins out in the end.

The Only Good Woman is A Dead Woman - Recoding Death of Fantasy and Beauty

nicolaisgreat@gmail.com (Nicola Morton) — Wed, 04 Jan 2012 09:21:00 +0000

On Friday 13^th Jan, 2012 Nicola will perform two rituals for the empowerment of women - recoding death of fantasy and beauty. Features - projections, performance, install of red, yellow, blue hand and face sensor stickers, tecno brega, dangdut, hair whipping,

“The Only Good Woman Is A Dead Woman” is a quote from Slavoj Zizek’s A Pervert’s Guide to Cinema he stipulates in cinema (a medium that now guides our fantasies) the death of the female (fantasy) keeps the male libidinal economy going onward and upward. I want to steal the power of death of fantasy from men and give it back to women. There are hands and face sillhouettes around the room where audience can place their hands or face, I ask them to confide in me, just by placing their thoughts into the ground or the glass – thoughts of a life or death of a fantasy. In one of the shopfront windows I have written all my ‘shut down’ lines on to dry rice paper. I project the aesthetic themes of Life, Death, Fantasy > Light, Dark, Fire and then take the dry rice paper circles, wet them stick them over my body and eat them. All of this aurally supported by a mix of Kylie Minogue's "Confide in Me" with Dangdut and Tecno Brega music. She took us the right way from hollywood (well Neighbours to being a sexy dancer, no fucker is gonna kill her now or make her move to Brisbane so Scott and the rest of the Neighbours can continue their shit!!!)

Then towards beauty and the water, that transformed the rice paper circles I add glitter, dip my hair in it and invite the audience to do the same as we "Whip my hair back and forth." Men can’t kill a woman’s fantasies, they live on and are transferred.

I present the sexual fantasy of dangdut, a provocative dance slightly incongruous to the region's Islamic values, but one which is trance like, so never dies.. we get in a hair whipping trance..

According to The Culture Code by Clotaire Rapaille, (Western culture’s) cultural code for beauty is ‘men’s salvation’ – do we really work hard to impress each other with our beauty to prove our ability to save men? There is all this woman on woman anger, that extends to racial ie. white women v asian women – white women think men want asian women more and asian women think men want white women more. BUT LADY GAGA IS BEAUTIFUL AND DOESN’T SAVE MEN. In the pursuit of alien beauty, we find an alternative, using alfoil and glitter on our hands and faces and throwing confetti with the phrases “I only wear free trade and recycled clothing,” “My make up is not tested on animals,” and "Aliens can overthrow the state" – we transform to beautiful caring aliens.

Window and Floor Install Plans:

Below are some video stills from projection:

These are videostills of performance. Filmed by KT Spit.

Dreamtime with Simbi Dare and Nicola Morton - AKSI REVOLUSI

nicolaisgreat@gmail.com (Nicola Morton) — Tue, 20 Dec 2011 00:34:00 +0000

Nicola Morton as The Rabbit
and
Simbi Dare as The Dragonfly

Escort you to Dreamtime in between the Banyan Trees, October 26 2011 at Alun Alun Kidul, Yogyakarta - the resting place of the gods and then sing...

Problem: Revolution action is needed to change the fabric dimension of society to a place where we all hold empathy and have what we need - a dreamtime dimension. S&M's penultimate performance in Indonesia.

Simbi and I's medicine cards that represent our link to above and other dimensions are the Rabbit (fears) and the Dragonfly (illusion). This performance was to transform the fears and illusions we had presented in our previous performances and use the energy to expose the world to dreamtime.

We used a famous gateway in Yogyakarta, the banyan tree gates at the Sultan's Palace. According to tradition if you walk from the top of the park thru the middle of the gate you will have unlimited success. Every night locals and tourists try to get thru the cosmic gateway, often other musicians and people trick and distract you from getting through the gate.

Dressed as the rabbit and dragonfly we tried to make our way through the 2 trees. On our 3rd attempt, we finally got to the middle and unpacked the gender (Javanese xylophone) and microphone and sang the lyrics of Atari Teenage Riot's "Revolution Action" which we had modified and translated to Bahasa Indonesian (a language not native to the area, but a simple, universalising language of the area).

At the end we wanted to destroy the rabbit and dragonfly as they draw fears toward us and get trapped in illusion. So the rabbit was eaten by a wooden tiger puppet and the dragonfly costume was going to be burned but at the last minute Simbi decided to give the costume to a little girl in the audience.

Saat hidup, Saat mati
Saat hidup, Saat mati
Saat hidup, Saat mati
Saat hidup, Saat mati
Saat hidup,
AKSI REVOLUSI

Kalian akan mati, untuk apa
Kalian akan mati, untuk apa (AKSI)

Kalian akan mati, untuk apa
Kalian akan mati, untuk apa
AKSI REVOLUSI

Membakar kengarian pemerintah yang berkuasa
Dengan pistol mengarah ke kepala
Saya menyadari apa yang tidak saya dapatkan

Banyak orang punya kekuatan tapi tidak satupun dari kita semua
Setiap jam media katakan apa yang salah
Berdiri di dalam tenggorakan singha dan saya mau tau
hidup kalian menyebalikan di bendingkan dengan hidup saya dan teman2 saya
Perusak ke tengah2 ikut hati mu
AKSI REVOLUSI

Kita akan mati, untuk apa?
Kita akan mati, untuk apa? (AKSI)

Ini bukan merusak diri sendiri
Ini bukan merusak diri sendiri
AKSI REVOLUSI

How I Survived a Kuntilanak Attack (Transforming Women on Women Rage)

nicolaisgreat@gmail.com (Nicola Morton) — Wed, 14 Dec 2011 03:21:00 +0000

Women can't do what they want. Plus they are oppressed in society by men and their fellow women. Since revenge seems impossible in the physical world this causes powerful living spirits to emerge such as kuntilanak and sundel bolong (Indonesian female ghosts). However when this repressed violence becomes supernatural, kuntilanak tend to take it out on just about anybody, thats why everyone is afraid of kuntilanak.

This performance is about recognising that from having this living spirit given to us thru oppression we can use it consciously rather than unconsciously to change society. Simbi and Nicola have faced living spirits before and recognize the challenge of going further than being captivated by them. Derrida in Specters of Marx (1994) describes our struggle as follows:

“One must have the ghost’s hide and to do that, one must have it. To have it, one must see it, situate it, identify it. One must possess it without letting oneself be possessed by it, without being possessed of it (…)Is not to possess a spectre to be possessed by it, possessed period? To capture it, is that not to be captivated by it?”.

So first we taunt the audience and embody the specter by singing "Spellbound" by Siouxie and the Banshees and then "Girls" by the Beastie Boys on the gender a traditional xylophone like instrument (the only one a woman can traditionally play). We also give out locally made clove cigarettes and newspapers.

Simbi and I are women taking on women ghosts and so we sing "Boom I Got Your Boyfriend" to set the scene for this women on women anger.

Then comes time for transformation as we offer up our bodies for violence from the crowd (a là Marina Abramovic Rhythm 0 (1974)). We absorb the oppression and then transform it into screams, documenting our screams and keeping the energy in the physical world.

We then sing "I Wanna Be Your Joey Ramone" first remixed jungle style then again on the gender. We recommend riot girl music (like Sleater Kinney) for everyone, by giving out free mix CDS. We harnessed the supernatural power of repressed women to consciously change society.

Human Rights: The Wedding Story

nicolaisgreat@gmail.com (Nicola Morton) — Fri, 09 Dec 2011 06:05:00 +0000

ONLY SHOWN IN EXHIBITION ** CONTAINS OFFENSIVE MATERIAL *** Created for Amnesty International's Individuals at Risk Campaign. Shown at Artillery Festival, Brisbane, 9th December, 2011 at Jugglers. My video reflects on the ability to see the history of a nation through the ritual of a wedding in current times. From 1898 and 1965 in Indonesia, political prisoners were kept as symptoms of 1) colonial suppression of race, 2) post-colonial suppression of artists and a 3) derogatory status of women. In our 2011 multi- racial wedding of artists, we see no suppression of race, no suppression of artists and a somewhat evolving status for women. The atrocities of colonialism, the anti-communist purge and the stature of women are seldom mentioned in Indonesia. This work honors the act of speaking out, whilst critically and contemporarily engaging with the opinions of the public.

Copyright, Art and Utopia Perf Lecture

nicolaisgreat@gmail.com (Nicola Morton) — Fri, 18 Nov 2011 11:27:00 +0000

Presented October 18 at Indonesian Contemporary Art Network

Introduction

If you have an apple and I have an apple and we exchange apples then you and I will still each have one apple. But if you have an idea and I have an idea and we exchange these ideas, then each of us will have two ideas.

—Phi Kappa Phi Journal^[2]

Performative Action: Each person is given 2 toy eyes :) so now they have 3 eyes, like an alien

Definitions

Sharing Economy - towards the end of 11^th Century, post feudal economy was starting to happen, similar to the peer to peer, bartering systems we are pioneering now. But basically people would pay for things according to how they could ie. bread could be bought with fish or with clothing etc. There was no fixed price or value for products or services, each items value would change per each transaction, case by case.

Scarcity Economy – The Sovereign and other rich people wanted to continue receiving money just because they were already rich. Taxes were not enough, they devised a sovereign currency, so now people needed to pay for products with money, which they could only get from the Sovereign. The sovereign would control how much money it would give out and loans started happening. Sovereign currency invented by Dutch.

Post Scarcity Economy – where everyone can get what they want, utopic and dystopic views see. Sci-fi discussion below.

Intellectual Property – should authorship = a material monetary value?

Authorship opposed to just the actors – actors will be paid a fixed wage, no copyright. They do not suffer from copyright abuse.

Publishing Companies – ie. Warner, MGM, buy the right to reproduce the intellectual property, once the author has sold the reproduction rights the publishing company can regulate supply and demand and exhibits cartel-like behaviour. Again it is a system where the company makes money by simply having money. The author is given a royalty (2-3%) from each reproduction.

Copyright/Patents – the right to reproduce intellectual property. interestingly copyright does not cover clothing or industrial design, but I am mostly going to be talking about copyright of entertainment media. Copyright invented by the British.

Before Copyright and publishing companies – the author would find means to reproduce and distribute the book/movie/film/painting and then receive all the money from each copy. Books were still being sold by popularity, if a book was good, the author would sell out of the first run of 20 or so and then start making more. Starting and working mostly in small local communities. Reproduction was somewhat expensive but the advent of bible reproduction and trade opened up exporting of books – books now could be distributed with Bible, some authors got in there and started trading books before copyright.

Stealing - However when books were very popular there was nothing to stop people reproducing the book because they had bought a copy before. They would then make the money off this reproduction. When you copy an item of intel. Property from a publishing company you are taking from the companies projected earnings but not stealing any money from author.

Copyright and Economy
Nicola will take you back in time to the development of copyright and authorship, discussing the principles of the scarcity economy and the monopoly copyrighting provides. Basically copyrighting was invented to scrape more money off the emerging intellectual production and labour class. It promotes individual knowledge over community knowledge. It allows publishing companies to monopolize, in reality the author hardly gets any money for royalties but is paid by commission or in advance by the publishing company. It is a way for the big money to keep on making money just because they have it. Its premise (which is untrue) is that it motivates artists to be more productive so they can earn more money.

Then a quick trip to the future through some sci-fi books to the idea of how a utopic post-scarcity economy could exist, where physical and intellectual commodities are in abundance and free. Ian M Banks "The Culture" where there is a civilisation who found freedom from need and freedom from greed by utilising artificial intelligence for production and traverse space trying to share their developments.

and the intermediary step is present in Neal Stephenson's "The Diamond Age" where fabricator technology allows the growth of any thing that one has design plans for however the poor receive a lesser amount of energy and resources per day to use and thus have to wait longer for items to be fabricated. Also their items tend to be smaller, as they have no access to large-scale fabricators. however the centrally distributed power to the fabricators is cut off when a protean seed is developed which allows the fabricators direct access to raw materials. Then after the discovery of this renewable resource from the earth, we are propelled into post scarcity.

And then back to the present to the developing peer to peer economy, gifting economy where digital content can be copied and distributed at little cost. What is Sharing or Stealing in a P2P economy? - share: only take if the person wants it to be shared, people can share movies etc. No money for big media companies anymore? good, rise of DIY films and innovative business strategies. Problems running a sharing economy in parallel with a scarcity economy = lawsuits

A small note on Asia and piracy. In some instances Asia is ahead of the Western world in the sharing of ideas and intellectual property ie. Kunci's cheap books from India and the new bribe reporting website, where viewers can see how much was paid to who for what job (its bringing the prices of bribes down). China steals industrial secrets for the forwarding of their own nation so still enforcing the market force of competition and not openness.

Copyright and contemporary Art.
Appropriation of the image in Art - the importance of appropriation in the post modern - copyright law inhibits and causes problems for artists - rather than inspires creativity which it is supposed to do. The critical faculty of Art where it is antagonistic and critical of media, needs to appropriate symbols of collective identity. The importance of changing the meaning of the significant. Appropriation is and exploration of signification, originality, appropriation, authorship and deconstruction. The term ‘simulacrum’, drawn from the writings of the French philosopher Jean Baudrillard, is often used to signify this idea of representation as reality. For Postmodernists nothing we can say or do is truly ‘original’, for our thoughts are constructed from our experience of a lifetime of representation, so it is naive to imagine a work’s author inventing its forms or controlling its meaning. Instead of pretending to an authorities originality, postmodernism concentrates on the way images and symbols (‘signifiers’) shift or lose their meaning when put in different contexts (‘appropriated’), revealing (‘deconstructing’) the processes by which meaning is constructed.

and the DIY art economy - producing works for own satisfaction and recognition of peers, not for $$ destroys premise of copyright. Ie. ETSY

Copyright and (d)evolution
The collective intelligence - mass collaboration could be the next step in evolotuion - it requires openness, peer 2 peer, sharing, globalisation (overcoming group think and individual cognitive bias) in order to allow a collective to cooperate on one process-while achieving enhanced intellectual performance. Teilhard points to the societal problems and tactics of capitalism such as isolation and marginalization as huge inhibitors of evolotuion. since evolution requires a unification of consciousness. He states that "no evolutionary future awaits anyone except in association with everyone else."

Tentatively Collective Intelligence could help us build civilisation similar to Ian Banks "The Culture" where we are free from greed and material need.

Role play Scenario:

One with traditional system:

One with new system:

Music, art, books, stealing.. eg. DGTMB, Melanie Bonajo and Eddie

Problems with creation because of copyright

Review of 'My performative lecture on Deleuze and Guattari's Anti-Oedipus'

nicolaisgreat@gmail.com (Nicola Morton) — Sun, 25 Sep 2011 05:51:00 +0000

i have been reblogged and recoded. http://antioedipus.blogspot.com/2011/09/partings-2andpartings3.html http://antioedipus.blogspot.com/2011/09/nicola-morton-reads-anti-oedipus.html

Halmstad Sea Festival, with Henrik Hedinge

nicolaisgreat@gmail.com (Nicola Morton) — Thu, 15 Sep 2011 15:16:00 +0000

"Wave Croquis" - wave life drawing, sticking my contrapossto

7 November 2011. Group Performance directed by Henrik Hedinge

Performance by Nicola Morton at Black Beach in Bali, Indonesia (out the back of John Michael’s studio, near Gianyar)

Music by Nicola Morton, Movement 1 from “Life is a Rubiks Cube” http://rubicksmusic.wordpress.com

http://seaperformance.blogspot.com

Bangun Pagi at Festival Senyum Merapi, Diwak Village

nicolaisgreat@gmail.com (Nicola Morton) — Thu, 15 Sep 2011 15:13:00 +0000

I performed the "Bangun Pagi.. Mengosok Gigi" children's song at Smile Senyum Merapi Festival in Diwak Village. PM Toh collaborated with me on the day, helping amp up the kids..

Other Press Links and Photos
http://spontannews.com/pm-toh-menebar-senyum-di-lereng-merapi

http://sosbud.kompasiana.com/2011/07/26/semangat-kebersamaan-bocah-merapi/

Legally Lolita - A Performance about our Fathers

nicolaisgreat@gmail.com (Nicola Morton) — Tue, 09 Aug 2011 06:14:00 +0000

Problem: We are all affected by patriarchal power, the manipulations of our fathers- the lawmaker (my dad) and the self-made man (simbi's dad), mirror the way society tries to manipulate us through intimidation, isolation and flattery.

Part 1- Addresses how our father figures are liars and stealers who project their crimes onto us. We are dressed as schoolgirls and are caught stealing and sing a capella Jane's Addiction's 'Been Caught Stealing' accompanied by toy electric guitar. We are accompanied by projections of Rush Limbaugh, Bill Gates, Tiger Woods, President Suharto.
Part 2 - Is about how discipline intimidates you and tricks you into wanting it and being sorry and instead you have to learn to speak up against it. Nicola sings Throbbing Gristle's 'Discipline' and builds a jail out of duct tape, while Simbi jams noise style over the top. Then Simbi dressed as a policeman gives orders to Nicola like a dog, like "Sit!," "Roll Over," "Get Back in Jail" and Nicola obeys. Then when in jail, Nicola apologises over and over again "Sorry, sorry" and then Simbi reveals she is just a schoolgirl and teaches Nicola to say "I'm not sorry" and "Why the fuck, should I be sorry."
Part 3 - By using the power of sharing a joint and becoming gothic lolita's we temporarily escape the discipline and jail of our fathers and play hand clap games and jump rope, but we get caught and tied up in the image of lolita's as Reese Witherspoon in Clueless and Legally Blonde and Athena, daughter of Zeus.
Part 4- We find better female role models as we transform to our Orisha's, Yemaya (Mother deity and ocean goddess) and Oya (Warrior spirit of the wind, lightning, fertility, fire and magic) and sing "Don't You Love Her Madly" by The Doors- as we successfully walk out the door of the Jail.
Part 5- As the Orisha's and characters from Vera Chytilová's 'Sedmikrásky' (Daisies) We learn how to answer manipulative phrases, ie. "I always wanted to be an intellectual and a lawyer, but you can do that. Well you didn't loser, I have a chance to be a great artist" and "I'll blame your mother and scream at her and hit her. She should leave you if you do that. I am not making you hit her" then Simbi sings Carole King's, 'Tapestry' and Nicola as Oya creates a tornado amongst the gravestones of books.

Mau ke Bulan - A Journey to the Dark Side of the Moon

nicolaisgreat@gmail.com (Nicola Morton) — Thu, 04 Aug 2011 15:50:00 +0000

A performance that investigates the dark (Lilith) side of the Moon and Mothers. Held at T-Art Space, Ubud, Bali, Indonesia.

Comment By Nicola:
My time in Indonesia, has been marked by a lot of digging up of emotions about my family - submissive wives, Asian wives, Asian family responsibility etc. I did not expect it.

After spending time on the shamanic death of capitalism, Simbi and I realised that a whole lot of negative neurosis were still present in our psyches due to our dysfunctional families (who were also in ways products of the manipulations of capitalism). So, we started with our mothers. We were intrigued about the 'good' archetype of the mother, when there is an obvious bad 'Lilith' side. However this Lilith side offers us strengths as well. Due to us witnessing our mother's very shameful positions, we both have very little shame. Our mothers were both victims and drew us in with sympathy so first we sing "Let it Be." My mother, a victim of her own family's superstitions, subconsciously placed a lot of guilt on me especially after leaving all her family she left my abusive father, as I had to become the father of the family from a young age - she made me into a stoic elephant, to symbolise this I make an elephant out of masking tape on the window and try to fit my figure in it. Simbi was a saint, a family gift, a princess and a pesky cat for her mother, she sings 'When the Saints Come Marching In," I sing James Blunt's "You're Beautiful" as I make her up as the Princess and then Simbi turns into a cat and sings "Wish You Were Here" as I get angry with a pink stuffed cat.

We turn these expectations around by facing our biggest fears when blindfolded - confronting our fears of the dark moon. 'Simbi's fear is to be tortured, so I torture her as the Princess and sing the awfully annoying "Duck Sauce (Barbra Streisand)" song. Then, I face my blindfolded fear of falling down stairs, I myself don't want to be subjugated in the basement. So anyway, I blindfold myself and climb down the stairs to the ground level of the Gallery, while Simbi plays Carole King's "I Feel the Earth Move" - here begins our point of transformation. I fall down the last few stairs, Simbi then 'tortures' me by painting a face on my ass. We are having fun now. I then ride a toy pink elephant and get paint all over it from my ass. We transform then into orisha's (from Yoruba/Africa) with rituals for Oya, Undergoddess of the Niger River and Yemaya, the mother goddess. After we are transformed we do moon salutations with a plucky participant from the crowd.

The Punisher v. The Fairy Queen (Sibling Rivalry)

nicolaisgreat@gmail.com (Nicola Morton) — Thu, 04 Aug 2011 05:40:00 +0000

This performance transforms the energy from dysfunctional family roles and the influence of 'psychedelic' hippy siblings into a multiplicity of healing roles from our new community - contemporary post-modern popular culture.

Problem: Dysfunctional families generate different archetypes amongst the children such as the 'family hero,' 'scapegoat,' 'mascot' and the 'lost child.' Combined with these roles our siblings have been products of the 70's pyschedelic hippy generation where their individual pursuit of happiness has become a tool for the 'psychedelic' manipulations of capitalism. We tackle personal symbols of our dysfunctional roles (which are mostly also rooted in 'psychedelic uprising') and represent new multiplicity where we can functionally play all the roles and do not succumb to individualisation of identity and become new social healers.

We present our new healing roles: karaoke, hip-hop, Gayatri Spivak, Deleuze & Guattari, electroclash, mutant superheroes, graffiti and feminist noise by using the techniques of data moshing and shredding with projections over the symbols of our siblings: Nirvana, Bon Jovi, Noam Chomsky, Deepak Chopra, Tennessee William's 'A Streetcar Named Desire,' 'Dirty Dancing,' fairy queens, 'A Rebel Without a Cause,' and Brian Jonestown Massacre.

In Part 1 - All Apologies Nirvana v Eminem v Bon Jovi; Deepak Chopra v 'The Subaltern' Spivak v Noam Chomsky v Deleuze & Guattari v Tennessee Williams
In Part 2 - Simbi sings her own electroclash song over footage from 'Dirty Dancing' and Nicola becomes a comic book super hero aka. Rougue or Storm from X-men and sings New World Order by Ministry over Simbi being the fairy queen playing the piano and then becomes a graffitti-ing Punisher over footage from 'Rebel Without A Cause.
In Part 3 - Simbi and Nicola make a noise jam over the top of Brian Jonestown Massacre, during the show the footage was projected on us, so we actually weren't making music to the footage but I think it goes pretty well.

Simbi Comments
story of my life (electroclash v. dirty dancing, sibling rivalry part 2)

Sealskin coat of arms
One turntable and five alarms
Dollhouse furniture I can't break
Canopy bed and lacy drapes

Swamp of ghosts and basement holes
where fire and torture pull us into the mire
My mother's an enormous octopus who oozes tears
My father changes the channel -- one more rape, one more fear

Do you feel insecure? Take it out on me, I'm so very pure
I"ll love you endlessly. In the end I'll even set you free.

My wrists are blood and my lips sewn shut
The leaves change color one more year.
My dreams and visions take me out of here.

Cocoon of music
I wove you with agile fingers and fragile feelings.
Every color of the rainbow soft around me
like dewdrops on fresh flowers.
But I must destroy you
to find my powers.

Do you feel insecure? Take it out on me, I'm so very pure.
I'll love you endlessly. In the end, I'll even set me free.

The forest is deep
The forest is bold.
This is where illusions lose hold.

Geisha shadow
Magic daughter
Writing my destiny with melting face
Broken heels
Throwing ashes
Dead wood
Empty orchestra
Immaculate heart

Dressed in kimono
Lying on the bed
Oragami bats are overhead.

At least you knew me from before
All the cracks in this broken down whore
When I don't know what life is for
We can go to the limit one time more

On a ship
On a trip
this imp is wearing my rainbow dress
I'm wearing his combat boots. Awkward but strange
how well they suit.
He wants to break me down, take me power.
But as usual my words win him over.

I tell him the story of the quilombo in Brazil
where children of escaped slaves are living still
How I scrambled below the waterfall
and breathed deep pure air.
Saw pink river dolphins.
I found my home there.

Goodbye to all my magic styles
gained entrance to every club in new york and berlin through those psychic wiles
Naked I sat clothed in my skin
No tricks, no shadows, no projected ideals
Simply me and all that surrounded me

Together we could be
broken harmony

on part 1:
gayatri spivak's reading of to the lighthouse. the reason mr. ramsey the philosopher couldn't get past "r" in the alphabet is because its the beginning of his own name. representing that western philosophy couldn't progress because it could analyze other things, but didn't understand itself. and he didn't understand himself, incidentally because he couldn't understand his wife, mrs. ramsay.

12 Ways to Masturbate with a Melodica

nicolaisgreat@gmail.com (Nicola Morton) — Wed, 03 Aug 2011 03:00:00 +0000

at Mangkubumen Art Party di Pendopo Mangkubumen, Universitas Widya Mataram, Yogyakarta

Problem: Judgement of sexual identity and selfishness of masturbation

This was a plan to enter the collective fantasy in 5 minutes by "veiling" masturbation concepts one note on the melodica at a time. By using the "veil" of conceptualisation and musical keys we expose 12 different auto-erotic acts as gateways to the collective, playful and international sexual fantasies of the collective unconscious. The problem of taking a selfish narcissistic act and immersing it in a crowd re: Slavoj Zizek in "Violence" (2008), is counteracted by sharing and healing ie. by giving away each hand decorated melodica and healing with our noise music. Our 12 Melodica masturbation themes are: c-fantasy, c#-paint, d-thumbs, d#-flowers, e-chains, f-asphyxiation, f#-stars, g-humping, g#-scissoring, a-water, a#-pressure, b-knife. By not communicating anything of a sexual nature to the audience, we are trying to prove sexual fantasy is not just a western prerogative/consumer product but something more rooted in the earth and in the spaces between our consciousnesses and of course the human‘s playful nature. Children start to play along in the performance which supports the subconscious playfulness and collective nature of our auto-erotic fantasies

The Shamanic Death of Capitalism, Jogja National Museum, June 24, 2011 - Performance Photos & Video Pt 1

nicolaisgreat@gmail.com (Nicola Morton) — Fri, 01 Jul 2011 22:16:00 +0000

Text and Artist Statement - Click Here
Performance with Simbi Dare, sponsored by Asialink, Arts Queensland, Australia Indonesia Institute.

Performative Lecture, Capitalism and Schizophrenia, Kunci Cultural Studies Center, Yogyakarta, June 27

nicolaisgreat@gmail.com (Nicola Morton) — Thu, 30 Jun 2011 10:22:00 +0000

At Kunci Cultural Studies, Yogyakarta, 2011.
A performative lecture about 'Anti-Oedipus' by Deleuze and Guattari including an activity decoding and recoding a bicycle in the late capitalism machine.
1) desire flows through a body of organs, which are machines. society can be defined by a flow of desire through machines. the flow is interrupted between machines either conjunctively ie associatively penis-sperm, disjuntively ie schizzing and taking the flying bricks of signifying chains that build the great wall of china, working them loose and carrying them in every direction (this is what capitalism does to a certain degree & see my performative actions) or conjunctive with residual ie a subject like capital is produced alongside synthesis (this is capitalism creating capital). Lacan "repare - procure seperare-seperate reperare - engender." there is also a body without organs (without desire) ie. residual
2) the deterritotorialisation-reterritorialisation poles of capitalism - Capitalism tends toward a threshold of decoding that will destroy the socius in order to make it a body without organs and unleash the flows of desire on this body as a deterritorialized field ie. capitalism in former communist countries, Capitalism institutes or restores all sorts of residual and artificial, imaginary or symbolic territorialities, thereby attempting, as best it can, to recode, to rechannel persons who have been defined in terms of abstract quantitities. however it simultaneously tends towards limits as everything also returns or recurs: States, nations, families to reterritorialise.
3) The schizophrenic tendency is the revolutionary tendency of capitalism

Activities for Shamanic Death of Capitalism - Seven Acts

nicolaisgreat@gmail.com (Nicola Morton) — Tue, 21 Jun 2011 04:56:00 +0000

Jumat Malam, June 24, Jogja National Museum.

Introduction – Shamanic Death of Capitalism – A death rite for society to get rid of capitalism so society can transform into a magical healer.

Act One – House of the Rising Sun
MC: This song is about saying goodbye to the family, we are getting ready for a spiritual journey. Our mother and father do not matter anymore, the house of the rising sun is between worlds – life and new life – from New Orleans – the death voodoo capital of USA. Then from LA, home for runaways and satellite of capitalism comes Joan Jett Karaoke "I Love Rock & Roll."

Act Two – My Favourite Things
MC: Do you like pink or green, what is your favourite color? This song we sing a capella. Itopens our throat chakra. The song “My Favourite Things” starts .. you are invited To scream about your favourite things. While Nicola and Simbi lead you by screaming desires from primal, (ie. sex) territorial, facist, despotic and capitalist desires (ie. fur coats). Audience will be led to scream out their favourite things.

Act Three – Runway
MC: Fashion has potential for revolution, it creates so many personalities and is weirdly accepting of every genre, but is always Over The Top. It is one of capitalism’s desire industries. But maybe it can evolve away from capitalism. Have you suffered extreme pain for fashion, think about your desires. Watch Simbi and Nicola walk the runway and each other in their stillettos while the one lying down sings the song. Then you can participate and allow Nicola and Simbi to walk on you with sexy shoes, while they sing, watch them stumble, feel the pain and know that you are doing it for love for ending capitalism. Capitalism and fashion die for a new fashion. Songs remixed and sung by Nicola and Simbi – “Tainted Love”, “Sweet Dreams.”

Act Four – Branding – Sticky Tape
MC: Our desires are linked to our visual representation. From early times we branded our skin, primal branding tattoos of animals to despotic tattoos, then came the notion of representing yourself in the world as “good” or “bad” but now we are in an era of capitalism branding – a total explosion of many different brands that don’t mean a thing. no longer on skin but in your mind, in the media, representing total artificial – no more good and bad, so again we take it further. We will cover ourselves with transparent sticky tape, coloured sticky tape, take photos of each other, create fake brands on white stickers, rebrand the walls and each other, while Nicola and Simbi re-enact and remix a Sony TV Commercial, by singing Knife “Heartbeats” and throwing multi colored balls in the air. The crowd will make themselves like mummies, so the capitalist media cannot enter our brains, eyes, nose, chakras.

Act Five – Swings
MC: Get ready to fight with your psychic powers. To duel, to fight each other blind. If you want to get on swing, you can put kenong over your head and we give you a stick – then you can stand on the swings we built here, and try to hit other people’s kenong heads with stick to make sound. People standing can use helmet and blindfold and chains, everyone else need to run away. Simbi will play Debussy “Exotiques” and “Canopes” to represent this trance like sound – which originates here in jawa – the gamelan – to give everyone psychic power.

Act Six – Stacks On Slayer
MC: “Stacks On” is an Australian term, it is related to sport and punk music. It is when one person falls on the floor and then everyone jumps on top of them, creating a suffocating rubbish pile. Capitalism creates so much Rubbish. Listen to these two songs, which do you like better? They are songs by Slayer. The first is called Angel of Death, the second one is called Raining Blood. Which do you like better? The audience creates rubbish piles to vote for each song to symbolise the excessive rubbish that captialism creates.

Act Seven – Death Metal Yoga
MC: After being an excess product, psychically tested, branded, a victim of fashion, audience particpants are ready for a yoga class. Simbi teaches Yoga and reads from the Tibetan book of the Dead, while a death metal band plays loudly over the top. Transcendental transformation

Encore – Nina Simone “I’ve Got Life” – Simbi sing and piano,

The Shamanic Death of Capitalism: Jogja National Museum, Friday June 24

nicolaisgreat@gmail.com (Nicola Morton) — Sun, 12 Jun 2011 16:56:00 +0000

The Shamanic Death of Capitalism ft Death Metal Yoga w/ Cangkang Serigala (Ican) – 2.5 jam & closing oleh Terbajurkaku

Minggu lalu, Society muncul ke hadapan Nicola dan Simbi dan mengajak mereka untuk menjadi Shaman. Society perlu untuk menyingkir dari identitas Kapitalistnya agar dapat mulai melakukan penyembuhan. Kematian shamanic merupakan kematian simbolik dari permulaan (Society); dari gaya hidup kuno dan identitas personal (Kapitalisme). Kematian Shaman meliputi ujian brutal kekuatan fisik, kemampuan fisik, dan tekanan kuat pada setiap 'tombol' emosi. Nicola dan Simbi mengidentifikasikan manipulasi-manipulasi psychedelic Kapitalisme terhadap masyarakat sebagai kontrol dan menimbulkan kegilaan ringan (paranoia). Menolak Paranoia! Kami telah menemukan ritual-ritual untuk menghina dan menyiksa, agar Kapitalime benar-benar gila (Schizophrenic).

Ritual kami membongkar semua bentuk-bentuk konsep "diri" kapitalis, kami menghina dan meludahi kapitalisme. Dirimu adalah masyarakat dan kamu bisa bergabung. Kami berjalan di sekelilingmu dengan sepatu hak tinggi. Kami melakukan Yoga dengan Death Metal. Kami meneriakan ritual kematian panjang untuk Kapitalisme. Kami sesak dan menguburmu sehingga hanya suara sampah yang terdengar olehmu. Kami memainkan tantangan fisik dan gamelan bersamamu, membunyikan Kenong dan Ketuk di sekeliling kepalamu dan berayun di langit-langit. Singkirkan dirimu dari identitas kapitalis kunomu! Datang ke JNM, tanggal 25 Juni ini!

Nicola Morton adalah seniman dibawah program Asialink yang sedang melakukan residensi di Performance Klub dan disponsori oleh Australia-Indonesia Institute and Arts Queensland. Ia belajar musik di Australia dan pernah tampil dengan noise band baik di Australia maupun Eropa, pentas di panggung yang sama dengan Venetian Snares, Faust, Awesome Color dan The Hospitals. Film fisik eksperimentalnya "Remote Viewing Experiment" (2010) masuk ke dalam daftar terpilih international awards dan telah diputar di banyak negara. Ia saat ini fokus dalam performance art, residensi, dan menulis tentang perubahan sosial.

Simbi Dare belajar literatur komparatif dari Jean Baudrillard di Universitas Columbia, USA dan sekarang mengajar Yoga di Bali sembari belajar Gamelan, menulis horoskop dan membuat musik Dubstep. Simbi bermain keybosrd untuk NY 8o's Punk Band, Bruno Wizard & The Homosexuals. Simbi dan Nicola telah bekerjasama dalam sejumlah ragam jenis musik seperti Didre Dootlittle (2007), menulis sejumlah artikel untuk Herr Entertainment (2007), Mind Objects: A Phenomenological Inquiry (2009) dan juga ritual shaman untuk Asheville Art Museum (2010).

The Shamanic Death of Capitalism ft Death Metal Yoga w/ Cangkang Serigala (Ican) – 2.5 hours

Last week, Society appeared to Nicola and Simbi and asked to become a Shaman. Society needs to rid itself of its old Capitalist identity in order for it to start healing. Shamanic death is the symbolic death of the initiate (Society), to the old ways of life and personal identity (Capitalism). Shamanic death entails brutal tests of physical strength, psychic ability and having every emotional “button” pushed hard. Nicola and Simbi have identified Capitalism’s psychedelic manipulations of society that control and limit madness (Paranoia). No more Paranoia. We have devised rituals to taunt and torture, to make Capitalism truly Mad (Schizophrenic).

Our rituals break down all former notions of the capitalist “self,” We taunt and spit on capitalism. You are society and you can join in. We walk all over you with our high heel stilettos. We do yoga to death metal. We scream long death rites for Capitalism. We suffocate and bury you until all you can hear is trash. We play psychic dares and gamelan with you as we put Kenong and Ketuk over our heads and swing from the ceiling. Rid yourself of your old capitalist identity! Come to JNM, 25 June.

Nicola Morton is an artist in residence at Performance Klub for the Asialink Program and is sponsored by Australia-Indonesia Institute and Arts Queensland. She studied music in Australia and performed in noise bands across Australia and Europe, sharing stages with Venetian Snares, Faust, Awesome Color and The Hospitals. Her psychic experiment film "Remote Viewing Experiment" (2010) has been shortlisted for international awards and screened internationally. She currently focuses her enthusiasm on performance art, residencies and writing for social change. Simbi Dare studied comparative literature with Jean Baudrillard at Columbia University, USA and now teaches yoga in Bali while learning Gamelan, writing horoscopes and making Dubstep music. Simbi plays keyboard for NY 80's Punk band, Bruno Wizard & The Homosexuals. Simbi and Nicola have worked together across several disciplines- musically as Deidre Doolittle (2007), writing for the magazines Herr Entertainment (2007), Mind Objects: A Phenomenological Inquiry (2009) plus as ritual shamans for Asheville Art Museum (2010).

Performance Video, Love Hypnosis Exchange, Taman Budaya, Yogyakarta

nicolaisgreat@gmail.com (Nicola Morton) — Wed, 08 Jun 2011 11:13:00 +0000

Performance Photos, Love Hypnosis Exchange, Taman Budaya, Yogyakarta

nicolaisgreat@gmail.com (Nicola Morton) — Wed, 08 Jun 2011 11:11:00 +0000

I now think of my work as dis-orienting.. get the pun!! hahah
Thank you to Asialink, M.Lugas Syllabus and Rachel Saraswati for the opportunity.

Love Hypnosis Exchange at Taman Budaya, Yogyakarta - Saturday June 4, 19.30

nicolaisgreat@gmail.com (Nicola Morton) — Sun, 29 May 2011 16:55:00 +0000

Pusing Kesurupan agar semua orang suka hati
INSTRUKSI

Tolong dengarkan dan ikuti:
1. "Satu, dua, tiga, empat, lima, enam, tujuh, delapan" - Ikuti gerakan saya dengan berputar ke kiri atau ke kanan sebanyak delapan kali selama hitungan disebutkan.
2. "BEEEEEEEP" - Tempelkn stiker ke badan orang lain selama bunyi didengungkan.
3. Lakukan terus sampai tubuh dipenuhi stiker.

as part of M. Lugas Syllabus - opening "Independence -Dead" show, MC by Rachel Saraswati

Performance Photo from Love Hypnosis Exchange (2010) Brisbane

Shortlisted for 17th International Contemporary Art Festival SESC_Videobrasil

nicolaisgreat@gmail.com (Nicola Morton) — Sat, 14 May 2011 06:17:00 +0000

More News:
I have been shortlisted along with an Aussie who makes skateboarding videos..

For the amazing psychic collaboration: Remote Viewing Experiment xx

.. Watch the videos in blogger here

How I end capitalism in each of my works

nicolaisgreat@gmail.com (Nicola Morton) — Sat, 14 May 2011 05:21:00 +0000

In response to Douglas Leonard, (who doubts my force to end capitalism) http://www.realtimearts.net/article/issue101/10168

The end of capitalism is heralded by new developments in exchange and altruism. What Am
I doing for the revolution? I use touch to develop psychometry (as a new weapon of the love force revolution), exchange intellectual property as experience rather than object (to promote the immaterial) and make fun of capitalist ventures (like everyone else in contemporary art, ref: Carmen Ansaldo in Artlines April 2011)

1) The piece in question: "Love Hypnosis Exchange" (2011) Performance

keywords- gift economy, social interactions (For a nicer review of this performance)

I try to create an economy based on exchange of stickers, that I have provided, a trance like activity (regular measured spinning) is used to make the punter more disoriented with current modes of exchange and freer to exchange this new currency of stickers. This new temporal economy I have created is not just based on a

material exchange but also an exchange of:
creative expression as the punters deliberate which colour and where on the body they will place a sticker in each 8 second round
and also a social interaction, as the punter decides who they will place the sticker on

Touch, experience and parody to declare the end of capitalism. Giving a sticker to someone is a gift, an altruistic emotion conveyed by touch. Gift economies challenge current capitalist non-altruistic virtue. Whilst an experiential creation of art on other's bodies in exchange for the creation of art on your own body peddles ephemeral experience rather than object. Moreover the dizzying effects of the Wall St stock exchange are parodied and taken to a new mystical level by adding Sufi spinning to the equation.

2) Previous works: "$1 A Blow" Performance

Keywords: supply pricing experiment

We all have breath. Due to the tenet of supply pricing, I priced breath for as low as $1. But Nobody opted for just a breath on skin. In fact everyone opted for an option with added intellectual property. I told blow jokes, played songs with breath music apps on my iPhone, blew bubbles. People want experience more than the object. I add my voice to the contemporary art revolt, "we no longer care about beauty, we care about ironic political comment."

3) Previous works: "100 Fortune Cookies" (2010) Performance

Keywords: futures exchange, asia tiger economies

Dressed in my power suit and with the help of my tiger (economy), I offered Asian style futures. Willing participants had to hide a coin in the "sands of destiny" which were in fact the raw dry ingredients to make fortune cookies, after placing the coin, they could finger around in the sands and choose their fortune.

Again I am using touch, this time it's very sensual as people are touching these raw materials, which are often speculated in the "futures exchange." Punters are encouraged to use their psychometric powers to pick the fortune that is right for them. They receive the experience of search and find, and find a story for their future and dont actually get a cookie. Plus it's all dripping in irony with the costumes and word puns et al and the tiny joke that all the futures written were the same.

4) Previous works: "2010: The End of Capitalism" (2010) 25min video

Keywords: monumentality, post-modernity

An all out attack on monumentality of capitalism, portraits of artists working to "burst the bubble" of capitalism in Berlin. Only one artist chose psychometry to relate to the bubble in these expressionist experiences as these artists add their portrait to a declaration to end capitalism. Dramatic irony is kindly provided by a morphed soundtrack of Richard Wagner.

5) Remote Viewing Experiment (2009) 50min video

Keywords: psychometry, oneness

An experiment in psychometry. As artists are portrayed video journal style blindly trying to describe the room an object came from. All artists experienced a sense of "oneness" that flies in the face of the individual pursuit of capitalism.

- Posted using BlogPress from my iPhone

Press Fame! I am in Indonesia!

nicolaisgreat@gmail.com (Nicola Morton) — Wed, 11 May 2011 05:45:00 +0000

15 seconds of fame. Thanks to Marek who is the only one who caught my article.

Of the Space of the Sound Of the Angel's Trumpet - Writing & Video

nicolaisgreat@gmail.com (Nicola Morton) — Sat, 05 Mar 2011 16:35:00 +0000

An experiment with Datura and creating a utopia that doesn't exist and my failed dating rites.
Here Is the video I gave Andrew Wilson to solve

Tea Ceremony to Solve Suburban Disillusionment from nicola morton on Vimeo.

Starts like a romantic comedy, ends…

A normal weekend at herringbone where we do our I Ching sticks, the song that is playing is very important to sian coz she always mentions it when she tells the story (its Boys II Men), I don't remember the song but then she rubs her hands together and says, "the next man that walks in will be nicola's husband". We all secretly think it will be an ugly fat guy but in walks the hottest guy I've ever seen. He has a beard, but then I worry that he is German, because I find those germs so good looking but they really aren't for me. Score! I talk to this guy. He is from nz, likes bright colours, button cuff and has distinct style. This guy is made for me, he puts our navy sports jacket and light blue chinos on hold, he buys a yellow shirt. I love yellow. I put his hold under the name, "nicola's husband"

Next week, He comes back when im on my lunchbreak but has to come back coz there is a fault in the jacket. This time when he comes in I subtly offer him my staff discount, “Coz you seem cool, and my friends never buy anything from here.” He is damn good looking. I have googled him and he has a phd in maths and works in social research. He comes in during the last half hour, I’m at work late on my own. I should have shut the shop half an hour ago, but i stay to chat, i have my bike anyway and cant go on the train, i mention i have problems with authority, He mentions he got a ticket riding his bike thru the mall, are we soulmates???

He has to wait on one of the shirts, it takes 2 weeks to come. He comes in twice looking for me, my workmates leave suggestive messages for me to call him. He finally comes in late again, this time it's a Friday night, Sian is working with me and tries to angle the conversation towards a date. He talks about how he is going to Good Vibrations and what acts he is interested in seeing there, I talk about how last Good Vibrations I saw James Brown, Dee-Lite, Talib Kweli etc. According to Sian, we have broken “Band-Ice” He even talks about a band on tonight at the Press Club but I just can’t take the bait, I am seriously tired. Instead Sian and I talk about our costume party on Saturday night, he suggests we go as an octopus. But we fumbled that conversation, we were both so awkward, maybe I secretly love Sian J

Talking to every male I encountered on the weekend, it became more and more apparent that I fucked up and I needed to text him real soon if I don’t want to sound obsessive. Sian and I wanted to call, but in the end the males said “TEXT!” So I did, I made Kurt help me write the text, I sometimes have trouble keeping to the point. Then I didn’t hear back from him, I turned off the phone. Next day, I turn on phone and realise I texted the wrong Will in my phone. Poor other Will was a bit confused because we had a little history – he wasn’t sure how to interpret the text

The funny thing, is that they both have fantastic beards. So then of course I texted the right Will and he was keen to catch up, he remembered I had a thing for the Fig Daiquiris at La Rouche. And then…

Well that morning I ran into an old woman who last time I saw her, told me I would meet someone that I would fall in love with, and to not despair, I am not too old. She also instructed me on massaging my hands with olive oil to keep them looking young. This time she was dressed in all white with a veil!?!!? And we talked about marriage because I had a huge deep fryer on my lap, it was my gift for my Nephew’s wedding. She thought it was horrible that someone so young could get married. But she told me I was wise, and maybe she would have told me about my husband but then it was my stop.

So Friday night, rocks up, he is late. I am super nervous. All week it has been stormy and I have been dreaming of his handsomeness. Things go ok, we talk about our weekends and he talks about latin music, he is a drummer. Ok so good.. but.. I soon discover Latin music is all about the rules, the maths rules, this guy is structuralist and likes his gender roles ruled by nature. He thinks female journalists should not complain about how other males treat/question females in the media, unless they can offer a fixed solution - if they are just treating/questioning “how women are” then what do they have to complain about. CNN needs to know what Condaleesa Rice thinks of white weddings and ladies will just sit tight when verbally abused on the sports field. Maybe I am a little sensitive, but the conversation continues, I almost run away but then decide we can cope with a meal. But then comes more damned conversation. This time its “what society needs is wholesomeness,” “those reality TV shows where they take kids to the bush is where it’s at,” “hedonism and drug taking needs to be disciplined,” “jogging is a sign of evolution,” “hedonism is acting like an animal” WHOAH.

YES! HE IS STILL KEEN. But no, we are both too busy to meet and both going overseas soon. We probably won’t see each other for 5 months. Or for ever. Fate?

Of the Space of the Sound of the Angel's Trumpet (Tea Ceremony to Solve Suburban Disillusionment)

nicolaisgreat@gmail.com (Nicola Morton) — Fri, 04 Mar 2011 17:02:00 +0000

"Of the Space of the Sound of the Angel's Trumpet"

Where: Exist-ing, Indooroopilly
When: 7pm March 5, 2010

Key Concepts: suburban (dis)solution, hallucinogenic experiments, materiality/immateriality, tea ceremony, drug empaths, influence of groups on ‘tripping,’ audience interactivity

Nicola Morton directs ephemeral moments where the worlds of immateriality catch glimpses of the material world. She is a conduit for love, spiritual wisdom and serendipity and in “Of the Space of The Sound of the Angel’s Trumpet” proposes to channel a surburban utopia that she has seen in a psychedelic state using Datura and Morning Glories (toxic garden hallucinogens). What kind of space will be created using this enigmatic, uninformed, suburban way of altering reality, these are mere flowers found on picket fences, surrounded by urban myths of youths cutting off their penises. Will it remedy or dissolve suburbia?
This mysterious experimentation will be performed live at exist-ing for the International Home Theater Festival exhibition. The performance of group exercise and improvised music, text and actions lasts for 2 hours and is accompanied by projections on reams of tissue paper (live from iPhone and pre-recorded from computer). Starting with Nicola’s traditional tea ceremony performance, voyeurs will be invited to