tag:blogger.com,1999:blog-56380908547416798672024-03-05T23:41:05.445-05:00PLAYspace MagazineEdited by David Gibson and Michele BasoraDavid.Michele Gibson.Basorahttp://www.blogger.com/profile/14357404836423295723noreply@blogger.comBlogger19125tag:blogger.com,1999:blog-5638090854741679867.post-13363570896466878182015-10-26T16:00:00.000-04:002015-10-26T16:00:56.913-04:00New WebsiteWe are now located at www.playspacemagazine.com<br />
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This page will archive old imagery and announcements only, everything new and interesting is at the new site, see it now and subscribe to private email feeds.<br />
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<br />David Gibsonhttp://www.blogger.com/profile/06352392151170963862noreply@blogger.com0tag:blogger.com,1999:blog-5638090854741679867.post-74279119246711927122012-08-21T13:01:00.003-04:002012-08-21T13:01:30.249-04:00Volume 1 now available online as a digital version!<span style="font-size: large;">ARE YOU BACK FROM VACATION YET?!</span><br />
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Well, all of us at PLAYspace magazine
are busy bees working on VOLUME 2 Print edition, which will be released
in a few months! And we have GOOD NEWS! PLAYspace volume one has now
released the online version for only <span style="font-size: large;">$4.40</span>! Purchase your online version
for a steal. <a href="http://www.magcloud.com/browse/issue/163537" rel="nofollow nofollow" target="_blank">http://www.magcloud.com/browse/issue/163537</a>David.Michele Gibson.Basorahttp://www.blogger.com/profile/14357404836423295723noreply@blogger.com2tag:blogger.com,1999:blog-5638090854741679867.post-18279960905723028512012-07-02T12:36:00.002-04:002012-07-02T12:49:40.062-04:00Inside the artists studioHave you seen the "Inside the Artists Studio" section in PLAYspace
magazine Volume 1? We have mini interviews with artists Amanda Browder,
Liz Insogna, Sean Greene and Lynn Umlauf. Photo of Lynn Umlauf during
our studio visit. Buy one and check out the rest! <a href="http://www.magcloud.com/browse/issue/163537" rel="nofollow nofollow" target="_blank">http://www.magcloud.com/browse/issue/163537</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij6QV3GkZ7Qpa19YQ_XD5IgCkymkHUXH6eBSoS8VD0YMhEqT2lwsr6RgowLfzEtj0HdA2BZ64xyJ9k8jXluTufFDvUxvHd8l8kguWfsUDGdRwLT-uKvnsCCFbyMRlsU882PpE3lQmjVLfS/s1600/lynn+4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="528" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij6QV3GkZ7Qpa19YQ_XD5IgCkymkHUXH6eBSoS8VD0YMhEqT2lwsr6RgowLfzEtj0HdA2BZ64xyJ9k8jXluTufFDvUxvHd8l8kguWfsUDGdRwLT-uKvnsCCFbyMRlsU882PpE3lQmjVLfS/s640/lynn+4.jpg" width="640" /></a></div>David.Michele Gibson.Basorahttp://www.blogger.com/profile/14357404836423295723noreply@blogger.com0tag:blogger.com,1999:blog-5638090854741679867.post-50001824080333059462012-07-02T12:34:00.002-04:002012-07-02T12:34:44.604-04:00<span style="font-size: large;">Are you inspired? Write about it in the next PLAYspace Volume 2. Which
will be in Miami Art fairs the end of this year. We want to hear from
you! Email us: playspacemag@gmail.com</span>David.Michele Gibson.Basorahttp://www.blogger.com/profile/14357404836423295723noreply@blogger.com0tag:blogger.com,1999:blog-5638090854741679867.post-78457529956909534332012-06-25T15:41:00.002-04:002012-06-25T15:41:22.391-04:00OPEN CALLOPEN CALL for art writers, poets, fiction writers. Show us what you've
got! Send us your proposals to playspacemag@gmail.com. Spread the word!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0s1hnMC_yDPtbOGcZs6JCf90idJbjwP53ZLBpCSDEl5yMMSyEjf2sry6iOq-FLMoJUmAVGZsC_lFTItJafR5nlBqub0iFSdfUGfNLnIxoyBu8DpWpXLoX0iEYzTUaMDq0zmCDRR5zZF5S/s1600/ps+vol+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0s1hnMC_yDPtbOGcZs6JCf90idJbjwP53ZLBpCSDEl5yMMSyEjf2sry6iOq-FLMoJUmAVGZsC_lFTItJafR5nlBqub0iFSdfUGfNLnIxoyBu8DpWpXLoX0iEYzTUaMDq0zmCDRR5zZF5S/s320/ps+vol+2.jpg" width="320" /></a></div>David.Michele Gibson.Basorahttp://www.blogger.com/profile/14357404836423295723noreply@blogger.com0tag:blogger.com,1999:blog-5638090854741679867.post-59698447732126911272012-06-14T13:40:00.000-04:002012-06-14T13:42:09.082-04:00OLA MANANA interview<a href="http://www.magcloud.com/browse/issue/163537" target="_blank"></a><br />
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Read the interview that famous OLA MANANA had with Artist Nancy Oliveri. Read
it in PLAYspace Volume 1. Purchase your copy to see what all the buzz is
about! <a href="http://www.magcloud.com/browse/issue/163537" target="_blank">Buy Here!</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhykEEhsHJwtzhyjCpLBho1Irp0mdZH1PG5k8jVqMjwcAQRS_4hDDEh_-qbUg8vlGWZyMGk7e71VFk4DitWmkkT-cWh3rQ6ey09QaRRKUPf2K2xrNL6Tj5h9VViSvX4j2j2Cy994yHCAkdc/s1600/Nancy.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="427" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhykEEhsHJwtzhyjCpLBho1Irp0mdZH1PG5k8jVqMjwcAQRS_4hDDEh_-qbUg8vlGWZyMGk7e71VFk4DitWmkkT-cWh3rQ6ey09QaRRKUPf2K2xrNL6Tj5h9VViSvX4j2j2Cy994yHCAkdc/s640/Nancy.jpg" width="640" /></a> <br />
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<br />David.Michele Gibson.Basorahttp://www.blogger.com/profile/14357404836423295723noreply@blogger.com0tag:blogger.com,1999:blog-5638090854741679867.post-44010312087098388502012-06-14T13:30:00.003-04:002012-06-14T13:30:56.290-04:00We had an amazing launch party!! To see more visit our facebook fan page: https://www.facebook.com/PlaYspaceMagazineDavid.Michele Gibson.Basorahttp://www.blogger.com/profile/14357404836423295723noreply@blogger.com0tag:blogger.com,1999:blog-5638090854741679867.post-86536433549940979802012-05-30T14:08:00.004-04:002012-05-30T14:10:20.366-04:00Elizabeth Riley in PLAYspace Volume One!<div style="text-align: justify;">
<span style="font-size: small;">Day and Night are the two poles
of our shared existence, which Elizabeth Riley considered when she fashioned
a special set of works for the Inaugural Volume of PLAYspace Magazine. Riley
creates universes from repetitive and obsessive details that are filmic and
kaleidoscopic. Her 'Night' version, seen here, presents a view of the universe—you
decide whether it is everything all at once, or a specific view in close
proximity to where you are now standing. To see the 'Day' version, <a href="http://www.magcloud.com/browse/issue/163537" style="color: #cc0000;" target="_blank"><b style="color: #351c75;">buy a copy of PLAYspace Magazine here</b></a> and have the two to compare! </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqWnTsPiqns9n-lSr76KsO-CLgO8TmtaByNtPvgvfj0rdc_UUIY4uiRjBugZOnlezzsAkvVDO8ecCp22oOc3J7FH67Oa-kv4brd05zFVG-Ubopq-9wBTzErchG08aTpBu33nfQSjhfrFX4/s1600/Spread_1+%28NIght%29_with+bleeds.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="416" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqWnTsPiqns9n-lSr76KsO-CLgO8TmtaByNtPvgvfj0rdc_UUIY4uiRjBugZOnlezzsAkvVDO8ecCp22oOc3J7FH67Oa-kv4brd05zFVG-Ubopq-9wBTzErchG08aTpBu33nfQSjhfrFX4/s640/Spread_1+%28NIght%29_with+bleeds.jpg" width="640" /></a></div>David.Michele Gibson.Basorahttp://www.blogger.com/profile/14357404836423295723noreply@blogger.com0tag:blogger.com,1999:blog-5638090854741679867.post-43198423672077426452012-05-22T14:10:00.003-04:002012-05-22T14:10:20.854-04:00Dianne Bowen for PLAYspace Volume 1The painting and poem by Dianne
Bowen create a context for the concept that linear thinking provides a limited
perspective where art and nature are concerned. Wordplay and lineplay are two
ways that Dianne Bowen gets her point across. Inherent complexities and natural
rhythms collide. Tracking nature is like rationalizing instinct. Bowen’s graphs
create new frequencies of reason that unwind and coalesce as we read into them.
The force of our attention is matched only by her ability to guide it into
challenging pathways redolent with meaning.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8oIn4Xdbh3kKrIg3hIJizVffN1Idd4V5bIBh3ZLRzd6pBOoZNMUu_fmB3O5JCuO2pvQyLlL9cKb3zqOpZp3ZZ6VFsS45kQwrK4NEzbbMXel5jHQWbpeQtSxBrVSPG7NIK5RulHIybIHOC/s1600/-6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8oIn4Xdbh3kKrIg3hIJizVffN1Idd4V5bIBh3ZLRzd6pBOoZNMUu_fmB3O5JCuO2pvQyLlL9cKb3zqOpZp3ZZ6VFsS45kQwrK4NEzbbMXel5jHQWbpeQtSxBrVSPG7NIK5RulHIybIHOC/s320/-6.jpg" width="320" /></a></div>
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Buy your copy to see:<br />
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<a href="http://www.magcloud.com/browse/issue/163537" rel="nofollow nofollow" target="_blank">http://www.magcloud.com/browse/issue/163537</a><br />
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<br />David.Michele Gibson.Basorahttp://www.blogger.com/profile/14357404836423295723noreply@blogger.com0tag:blogger.com,1999:blog-5638090854741679867.post-51375481791926148442012-05-22T14:02:00.003-04:002012-05-22T14:18:37.656-04:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzGeQ1VocRrvo62hVv3lyx7zV0yJ2Uw-H4yrwD8SHGCNJ29NvOSzaXNnNYMaRMTqVEdRGh_mDv_I6OQ_BEmsHwYeY6E4T9hjRj4oAzpBr0z0gy0sLW49EImDXSWlFpHnmvxHDcLm1Ihxbv/s1600/578335_4021460545234_1543067940_3275187_476499148_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzGeQ1VocRrvo62hVv3lyx7zV0yJ2Uw-H4yrwD8SHGCNJ29NvOSzaXNnNYMaRMTqVEdRGh_mDv_I6OQ_BEmsHwYeY6E4T9hjRj4oAzpBr0z0gy0sLW49EImDXSWlFpHnmvxHDcLm1Ihxbv/s640/578335_4021460545234_1543067940_3275187_476499148_n.jpg" width="640" /></a></div>
Maria João Salema reads her PLAYspace magazine while tanning on the beach!!David.Michele Gibson.Basorahttp://www.blogger.com/profile/14357404836423295723noreply@blogger.com0tag:blogger.com,1999:blog-5638090854741679867.post-36156445779426703972012-05-19T13:17:00.000-04:002012-05-19T13:17:37.552-04:00Christopher Stribley for PLAYspace Volume 1One of our featured artists of PLAYspace Volume 1 is Christopher Stribley aka Plastic Robot. Check out more of his work in Volume one!<br />
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<a href="http://www.magcloud.com/browse/issue/163537" target="_blank">Click to buy here!</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1psgWYntgQBwyDo9t_djEGhswUAE5g65qojmI1PjDb8zYnQPJqVYP1RUOeDAYLeDCLjvI4otKi-2r9g1yjPhe-EesmoBOe_xGVCQoaWiRNYxkLFiK03W77vRauRq-dT35d8MY5O8qBQGc/s1600/chris+photo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1psgWYntgQBwyDo9t_djEGhswUAE5g65qojmI1PjDb8zYnQPJqVYP1RUOeDAYLeDCLjvI4otKi-2r9g1yjPhe-EesmoBOe_xGVCQoaWiRNYxkLFiK03W77vRauRq-dT35d8MY5O8qBQGc/s640/chris+photo.jpg" width="425" /></a></div>
<br />David.Michele Gibson.Basorahttp://www.blogger.com/profile/14357404836423295723noreply@blogger.com0tag:blogger.com,1999:blog-5638090854741679867.post-86565607279458890712012-05-15T12:45:00.001-04:002012-05-15T12:45:16.173-04:00We are now on PinterestGet with it! Follow us on Pinterest! <a href="http://pinterest.com/playspacemag/" rel="nofollow nofollow" target="_blank">http://pinterest.com/playspacemag/</a>.
We just started an account on Pinterest and want to follow you too! And
many thanks to all those who have purchased PLAYspace volume 1. Many
thanks for all the amazing feedback. Get your issue while it's hot...<a href="http://www.magcloud.com/browse/issue/163537" rel="nofollow nofollow" target="_blank">http://www.magcloud.com/browse/issue/163537</a>David.Michele Gibson.Basorahttp://www.blogger.com/profile/14357404836423295723noreply@blogger.com0tag:blogger.com,1999:blog-5638090854741679867.post-13128714922005558602012-05-14T10:31:00.000-04:002012-05-14T10:50:08.014-04:00Katie Cercone for PLAYspace Volume 1<style>
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<b><span style="font-family: Arial; font-size: 9pt;">Katie Cercone for PLAYspace Volume 1</span></b><span style="font-family: Arial; font-size: 9pt;"> </span></div>
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<span style="font-family: Arial; font-size: 9pt;">Katie Cercone released a wonderful prose piece in PLAYspace volume 1. But she also submitted this article that we really wanted you to see titled:</span></div>
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<span style="font-family: Arial; font-size: 9pt;"><span style="font-size: x-large;">Eat This Mlack Busic</span></span></div>
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<span style="font-family: Arial; font-size: 9pt;"> My
working creative thesis, what I loosely call, ‘the spirituality of hip hop,’
comes from a complicated and at times contradictory constellation of terms.
Through an interdisciplinary inquiry I have developed what I affectionately
term a derelict cosmogony of the spiritualism of hip hop via the embodied
freedom encompassed in its interdynamic gestures of power, symbolism, triple
metaphor, dance and song as metalanguage<span class="MsoFootnoteReference">.</span></span></div>
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<span style="font-family: Arial; font-size: 9pt;"> Through
the phantasmagoric ‘veil’ of my own distorted magnitude I’ll posit hip hop as
an expressive, holistic and activating collective form of liberatory
spiritualism. </span><span style="font-family: Arial; font-size: 9pt;">Numerous cultural theorists have illustrated how we live in a
culture of avoidance and escape. </span><cite><span style="font-family: Arial; font-size: 9pt; font-style: normal;">Collective
experience has purportedly been reduced to simultaneous private experiences
distributed across the field of a highly dispersed media culture in which
passive consumers enjoy leisure time like sleep.</span></cite><a href="http://www.blogger.com/blogger.g?blogID=5638090854741679867#_edn1" name="_ednref" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="font-family: Arial; font-size: 9pt;"></span></span></a><cite><span style="font-family: Arial; font-size: 9pt; font-style: normal;"> </span></cite><span style="font-family: Arial; font-size: 9pt;">But the genius of music, like
sensuality, is that it traverses the body. Hip hop as an immersive microclimate
hemorrhages psycho-pedagogy. We can conceive of hip hop in all its incantations
as a dynamic form of esotericism or neo-Jungian ‘</span><span style="font-family: Arial; font-size: 9pt;">cultural dreaming’ in which
the authors, coauthors and fans of the genre use powerful symbols and lingering
sounds that engage body, mind and group soul.<a href="http://www.blogger.com/blogger.g?blogID=5638090854741679867#_edn2" name="_ednref" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"></span></a></span><span style="font-family: Arial; font-size: 9pt;"> </span></div>
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<span style="font-family: Arial; font-size: 9pt;"> Historically
avant-garde practice has entailed an interculturalism of appropriation that
always relies on white hegemony as its veritable backbone.<a href="http://www.blogger.com/blogger.g?blogID=5638090854741679867#_edn3" name="_ednref" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"></span></a>
</span><span style="font-family: Arial; font-size: 9pt;">Any
foray into the territory of race – the fashionable mantle of the hip hop industry
(industry as opposed to hip hop community) - must address the issue of sexual fetish. Appropriation as </span><span style="font-family: Arial; font-size: 9pt;">‘border crossing’ speaks to issues of the ownership of cultural
property. </span><span style="font-family: Arial; font-size: 9pt;">The</span><span style="font-family: Arial; font-size: 9pt;"> aestheticized
“objectified” other as intimate source of pleasure/desire/fear is a reoccurring
trope art historically which has served to denigrate oppressed groups,
particularly racial minorities, gays and women. </span></div>
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<span style="font-family: Arial; font-size: 9pt;"> </span><span style="font-family: Arial; font-size: 9pt;">As scholar
bell hooks notes, ‘young white consumers utilize black vernacular popular
culture to disrupt bourgeois values.’ Calling out Madonna, widely known for her
appropriation of gay and black subcultures, hooks asserts the queen of the
sexual revolution cashes in by ‘mirroring the role of plantation overseer in a
slave based economy.’ She further states that this moment is indicative of
sociocultural climate in which ‘white people and the rest of us are being asked
by the marketplace to let our prejudices and xenophobia (fear of difference)
go, and happily ‘eat the other.’<a href="http://www.blogger.com/blogger.g?blogID=5638090854741679867#_edn4" name="_ednref" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"></span></a> My work
interrogates hooks’ explosive ‘moment’ as the abysmal residue of capitalist
commodity fetishism, an illusive, psychosexual chimera.</span><span style="font-family: Arial; font-size: 9pt;"></span></div>
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<span style="font-family: Arial; font-size: 9pt;"> As
expressed by cultural theorist Norman Kelley, </span><span style="font-family: Arial; font-size: 9pt;">black
music exists in a neo-colonial relationship with the $12 billion music
industry. In classic neo-colonial style, black inner cities act as ‘raw cites
of cultural production’ whereby conditions (low per capita income, high birth
rate, economic dependence on external markets, labor as major export) resemble
a third world country and produce a ‘product’ – hip hop – that is sold back to
the ‘motherland’ (in this case suburbs teeming with bored white youth bloated
by privilege). As Mos Def echoes, ‘Old white men is runnin’ this rap shit.’
Despite the fanfare of industry moguls like Jay Z and Lil Wayne, there are in
fact no blacks, none, in top executive positions at the companies that parent
successful black owned companies.<a href="http://www.blogger.com/blogger.g?blogID=5638090854741679867#_edn5" name="_ednref" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"></span></a> </span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 9pt;"> It’s
also disconcerting to note how the money earning potential of hip hop is
largely reliant on an </span><span style="font-family: Arial; font-size: 9pt;">industry produced image of black ghetto life which
serves to buttress the prison industrial complex, a contemporary ‘leviathan’ of
racial inequality maintained through a ferocious combination of government law,
private corporations, police terrorism and racist cultural attitudes.<a href="http://www.blogger.com/blogger.g?blogID=5638090854741679867#_edn6" name="_ednref" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"></span></a>
The constant turn to ’ghetto blackness’ as a model of ‘authenticity’ and
hipness in rap music<a href="http://www.blogger.com/blogger.g?blogID=5638090854741679867#_edn7" name="_ednref" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"></span></a> limits </span><span style="font-family: Arial; font-size: 9pt;">‘blackness’ to ‘a primal connection to sex and violence, a big penis and
relief from the onus of upward mobility.’<a href="http://www.blogger.com/blogger.g?blogID=5638090854741679867#_edn8" name="_ednref" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"></span></a></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 9pt;"> </span><span style="font-family: Arial; font-size: 9pt;">As scholar
Tricia Rose notes, ‘hip hop merely displays in phantasmagorical form the
cultural logic of late capitalism.’<a href="http://www.blogger.com/blogger.g?blogID=5638090854741679867#_edn9" name="_ednref" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"></span></a> Hip hop is
a multi-billion dollar industry and vital creative enterprise of the African
diasporic community (where is houstatlantavegas located approximately?) the
germinating stage of which occurred in the aftermath of 1977’s devastating New
York city black out. While the <i style="mso-bidi-font-style: normal;">Times</i>
reading set was gaping at hallowing images of the desolate looted Bronx as if
the borough were the city’s dangling excoriated appendage, black youth were congregating
in the streets to dance, brag, paint, swagger and rhyme as a practice in
collectivity and spontaneous reciprocity. They were creatively repurposing boxy
electronics left dusty by outsourced industries that once put food on their
family’s tables. Says Rose, rap videos satisfy ‘poor young black people’s
profound need to have their territories acknowledged, recognized and
celebrated,’ as they converge around the ‘local posse, crew or support system.’<a href="http://www.blogger.com/blogger.g?blogID=5638090854741679867#_edn10" name="_ednref" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"></span></a>Fusing the racially disparate post-industrial conditions of urbanity with the
sensate fury of the African drum which once called the community to war – hip
hop, like spiritual practice, is a matrix concerned with territory, belonging
and identity.</span><span style="font-family: Arial; font-size: 9pt;"></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: Arial; font-size: 9pt;"> </span><span style="font-family: Arial; font-size: 9pt;">I was born in 1984 at the very moment hip hop irrupted as an
overwhelmingly lucrative genre with MTV to cement its aesthetic as a hip style.
White youth of my generation consume this music in a fashion 20<sup>th</sup>
century German musicologist Theodor Adorno termed ‘culinary’ appreciation. We
thereby feed exclusively on the music’s, ‘</span><span style="font-family: Arial; font-size: 9pt;">Certain over sweet sounds and
colors… like musical cookies or candies.’
Music, the art form possessing the most efficient means of accessing the
pleasure receptors in the subconscious brain, when manufactured purely as an</span><span style="font-family: Arial; font-size: 9pt;"> ‘</span><span style="font-family: Arial; font-size: 9pt;">object of exchange,’ serves as ‘a reservoir of a secondary,
infantile satisfactions and magical authority.’ Whereas real art in music is
the ‘transcription of historical suffering,’ Adorno condones produced music for
insisting that its listeners are ‘forced to passive sensual and emotional
acceptance of predigested yet disconnected qualities, whereas those qualities
at the same time become mummified and magicized.</span><span style="font-family: Arial; font-size: 9pt;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 9pt;"> My
interest in hip hop culture drinks at the trough of my neuroses. It forever
pays homage to the tripartite pleasures of my bulimic youth in suburban
California. My first car, my first taste of Wild 94.9 and 106.1 kmel jamz on
subwoofers, my flight from anorexia into bulimia – these three instances
together culminated in an unmitigated feeling of sensory overload, danger and
freedom. The ‘fantasy,’ of a perfect love union set forth in the musical lyrics
doomed to cold oscillation just as the repeated abuse of food persisted only as
a lucid and shameful false transgression. </span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 9pt;"> Lil
Wayne was my first consciously spiritual experience with hip hop. Weezy loved
candy. Weezy got high, drank <i style="mso-bidi-font-style: normal;">syzzurp</i>,
ate candy, ate pussy, ate beats. Weezy legally postponed his imprisonment to
undergo eight urgently needed root canals and my father was an orthodontist.
Weezy sang about ‘Ice Cream Paint Jobs’ and ‘Young Money.’ To the artist Mya in
her hit <i style="mso-bidi-font-style: normal;">Lock U Down</i>, the subject of
many a personal flash fantasy, Weezy sings ‘</span><span style="font-family: Arial; font-size: 9pt;">got a sweet tooth, Miss Caramel, I
need 3 scoops.’ </span><span style="font-family: Arial; font-size: 9pt;">Weezy coughed, growled,
heaved. Weezy’s style is part of a few subgenres. One being a slower,
southern-derived approach in which the artist drags out vowels and leaves
breathy spaces, as if ‘hot air’ lives in the rhymes.<a href="http://www.blogger.com/blogger.g?blogID=5638090854741679867#_edn12" name="_ednref" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"></span></a> The other being ‘swag,’ an </span><span style="font-family: Arial; font-size: 9pt;">abbreviation
of swagger - the evocation of style and guts, also connected to the African
tradition of boasting or bragging - considered a non-genre or meta-genre in
which artists engage in excessive bragging about their ‘swag,’ (money, cars and
clothes). Swag not only has a triple function (genre, action, baggage), it also
serves to illustrate the way in which ‘swag’ style as the parody of a die-hard
materialist culture means swag objects function in my hip hop spiritualist
cosmogony as a type of ‘occult bric-a-brac,an economy of excess which cleanses meanings by metaphorical loops. </span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: Arial; font-size: 9pt;"> Weezy
Baby</span><span style="font-family: Arial; font-size: 9pt;"> – the lyrics, the locks, the lawlessness
and constant spinning out into pleasure – cranked up my transcendental limits.
Weezy appealed to me in so much that he represented the purity of recklessness,
youth, and abuse of power hinging on one’s ability to overspend, to binge – to
reinscribe the law at the very moment one breaks it. Lil Wayne was the epitome of the prosthetic boyfriend I had
experienced through the surrogate of music and food since adolescence. </span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 9pt;"> Remarks
Slovenian continental philosopher and critical theorist Slavoj </span><span style="font-family: Arial; font-size: 9pt;">Žižek</span><span style="font-family: Arial; font-size: 9pt;">, ‘</span><span style="font-family: Arial; font-size: 9pt;">The singing voice at it most elementary [is] the embodiment
of ‘surplus-enjoyment’…the paradoxical ‘pleasure in pain.Singing raises vibrations in the body. Popular music entails a partisanship
based on a private, sensual contract. ‘Surplus-enjoyment’ in the purest sense
here is the return of the energy invested in the fetish, the invocation of a
spiritual longing for connection to a distant, majestic and mysterious force.
It is epitomized in the bulimic’s privileged relationship to capitalism’s
compulsory over-consumption and endlessly deferred gratification. What Žižek
suggests here<i style="mso-bidi-font-style: normal;"> </i>is that desire can
essentially be boiled down to the thinking human’s unique ability to create a
law that is a defense against the body’s full expression of jouissance. </span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 9pt;"> </span><span style="font-family: Arial; font-size: 9pt;">The hunger to repeatedly ‘eat the other’ (and his ‘distant danger’)
is one and the same with the desire to break the self-imposed dietetic rules.
This concept is one Adorno fleshes out in a problematic passage of <i style="mso-bidi-font-style: normal;">Current of Music</i> on the development of
Jazz: ‘</span><span style="font-family: Arial; font-size: 9pt;">Even if the girl enjoys unconsciously the idea of making
herself prey of a strong colored fellow, she certainly also wants unconsciously
to punish herself for the crime of her imagination…for the unlawful pleasure
which she wants to give and to deny herself at the same time.<a href="http://www.blogger.com/blogger.g?blogID=5638090854741679867#_edn15" name="_ednref" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"></span></a>
It is the typical Romantic gesture in which one ‘Elevates the longing as such,
at the expense of the object one longs for.<a href="http://www.blogger.com/blogger.g?blogID=5638090854741679867#_edn16" name="_ednref" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"></span></a>
</span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 9pt;"> </span><span style="font-family: Arial; font-size: 9pt;">Neuroses is perhaps both a generative creative condition as much as
a ‘luxury problem’ of the rich
typically treated with anti-depressant or anti-anxiety medications. It often
manifests in the form of obsessive compulsive behaviors and eating disorders
and its historical predecessors would be neurasthenia and hysteria. </span><span style="font-family: Arial; font-size: 9pt;">Commodity
fetishism has crystallized our imaginations into dominions where anxiety and
ecstasy are twins, whereby the market and its depotentiated subjects are forced
to always and only ‘reproduce by way of <i style="mso-bidi-font-style: normal;">borrowing
from the future</i>.<a href="http://www.blogger.com/blogger.g?blogID=5638090854741679867#_edn17" name="_ednref" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"></span></a> Our
culinary and fetishistic communion with the Other while listening follows the
basic Laconian ontology in which the ‘field of reality has to be ‘sutured’ with
a supplement’ and what is elevated as a positive entity is in reality a
‘negative magnitude.’ </span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 9pt;"> </span><span style="font-family: Arial; font-size: 9pt;">According to Susan Sontag, illness as a metaphor or ‘trope’ of the
self is considered an outgrowth of the Romantic period in art and poetry. In
her text <i style="mso-bidi-font-style: normal;">Illness as Metaphor, </i>Sontag
outlines the history of illness as ‘fashion’ – melancholy was the disease of 19<sup>th</sup>
Century Romantics. Insanity, associated with ‘superior sensitivity,’ and hailed
as the conduit of spiritual feelings and ‘critical’ discontent was claimed by
the 20<sup>th</sup> Century Modernists. She notes the 19<sup>th</sup> century
physician Bichat who called health the
‘silence of organs’ and illness ‘their revolt.<a href="http://www.blogger.com/blogger.g?blogID=5638090854741679867#_edn18" name="_ednref" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"></span></a></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 9pt;"> Exploring
the sensuality of spirituality entails that organs have their ‘revolt’ against
the mandates of a structured society. The ‘pleasure’ of listening holds a
consuming transcendent potential - a glittering alchemy that occurs at the
moment when the subaltern speaks in the visual, when the symbol is transgressed
and all the energy falsely invested in cognitive distance provides an explosive
gateway into the infinite.</span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 9pt;"> Hip
hop culture as appropriated by white hipsters may disrupt bourgeois values, but
as a d.i.y. tradition of black underprivileged youths it is an undoubtedly
ideological act of insubordination traced back to the ritual singing and
dancing of slaves and what theorist Fred Moten identifies as the root of the
black radical tradition: ‘</span><span style="font-family: Arial; font-size: 9pt;">The commodity whose speech sound embodies the
critique of value, of private property, of the sign.</span><a href="http://www.blogger.com/blogger.g?blogID=5638090854741679867#_edn19" name="_ednref" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="font-family: Arial; font-size: 9pt;"></span></span></a><span style="font-family: Arial; font-size: 9pt;"> According
to Marx, the commodity who speaks is an impossibility. The slave who enacted
verbal insubordination in various forms – screaming, grunting, singing – defied
his objecthood through unmediated experiential and vibratory collective action
causing spatio-temporal dislocation. A singer at work is no longer at work. He
is no longer bound to the structure of time defining his bindedness. </span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 9pt;"> Fred
Moten pinpoints this moment of dislocation as the ‘generative break,’ at the
root of the black radical tradition, a space ‘wherein action becomes possible,
one in which it is our duty to linger in the name of the ensemble and its
performance.<a href="http://www.blogger.com/blogger.g?blogID=5638090854741679867#_edn20" name="_ednref" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"></span></a>Again, this
calls to mind bodily activation in the form of dance, song and bodily
expression as a revolutionary practice undoing the divisive laws of language,
capitalism, commodity, and perhaps most important, time as a definitive
distinction: labor or leisure. As if epitomizing this temporal freedom, says
rapper Nas during the intro to <i style="mso-bidi-font-style: normal;">N.Y. State
of Mind </i>(released on the 1994 <i style="mso-bidi-font-style: normal;">Illmatic
</i>album, what has been called one of the greatest hip hop albums of all time)
‘Black is time.’ </span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 9pt;"> In
yet another, particularly poignant articulation of the power of hip hop,
Birdman, Lil Wayne’s industry father figure rhymes,<b style="mso-bidi-font-weight: normal;"> </b></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 9pt;"> <br />
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">We
grind for the shine nigga gettin' big money. <br />
Got
a fleet tossin' chicken nigga get cake</i></b><a href="http://www.blogger.com/blogger.g?blogID=5638090854741679867#_edn21" name="_ednref" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><i style="mso-bidi-font-style: normal;"></i></span></a></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 9pt;"> </span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 9pt;"> In
a quick succession of speech lasting merely a few seconds, Birdman had burned
through several double and triple metaphors, speaking to racism, masculinism,
power, luxury, ownership, God, radical rebellion, food, sexuality and
abundance. Black cultural theorists and feminists have rightly referred to
African-Americans as the first post-moderns marked by a pluralistic or shifting
notion of self. Remarks artist Lorraine O’Grady of the West’s monotheism in
respect to African-American holistic folk wisdom, in which ‘<i style="mso-bidi-font-style: normal;">Self</i> revolves about a series of variable
<i style="mso-bidi-font-style: normal;">centers, </i>such as sex and food (Hail
Weezy); family and community; and a spiritual life composed sometimes of God or
the gods, at others of esthetics or style.’ She goes on to say the
‘discontinuities of our experience as black slaves in a white world have caused
us to construct subjectivities able to negotiate between <i style="mso-bidi-font-style: normal;">centers</i> that, at least, are double.<a href="http://www.blogger.com/blogger.g?blogID=5638090854741679867#_edn22" name="_ednref" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"></span></a>
</span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 9pt;"> Hip
hop’s multitudinous meaning in language is an important indictor of the power
of black post-modern subjectivity. The use of slang and triple metaphor as an
expressive medium is an important element of the spirituality of hip hop. Take
for instance the word ‘Swag,’ a term very quickly acquiring a permanent space
in the American vernacular. <i style="mso-bidi-font-style: normal;">Swag</i> is
noun, verb, musical meta-genre. Swag is a symbol branded all over the backs of
youth in Atlanta, a major center of hip hop in which the most popular tattoos
of 2010 included musical notes, stars and moneybags. Atlanta Braves player A.
Juney of Rich Kids even went so far as to get a Gucci Bag tattooed on his neck.<a href="http://www.blogger.com/blogger.g?blogID=5638090854741679867#_edn23" name="_ednref" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"></span></a>
<i style="mso-bidi-font-style: normal;">Trap</i> occupies similar territory to <i style="mso-bidi-font-style: normal;">Swag</i>. It is<i style="mso-bidi-font-style: normal;"> </i>a southern rapper’s word for a place where drugs are sold, a verb
(to sell drugs) and a subgenre of music: unsmiling dudes rapping in first
person about the drug trade. Snap, another slang term, has a laundry list of
meanings among them (a sexual nap, a bowl of weed packed for a single hit and
the expression SAME HERE!) and is also a subgenre of hip hop utilizing slow
beats characterized by the finger snap effect in place of the snare drum. Snap
music has controversially been called the ‘death of hip hop.’ ‘Crunk,’ a word
which is literally a conflation of ‘drunk’ and ‘crazy’ also moonlights as a
popular genre of rap, named because the music is said to make you crunk.<span class="MsoEndnoteReference"> <a href="http://www.blogger.com/blogger.g?blogID=5638090854741679867#_edn24" name="_ednref" style="mso-endnote-id: edn;" title=""></a></span>
</span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial; font-size: 9pt;">All margins are dangerous. The
music is powerful because it represents a collective space of unconscious,
instant, unmediated vibratory action upon the psyche, brain and organ systems.
It works in the break of the workday, in the break of the verb, noun, pronoun.
In the break of the pitch: recall how </span><span style="font-family: Arial; font-size: 9pt;">T-Pain
converted the city of Atlanta to auto-tune pitch correction software, so that
most of the hip hop world, professional and amateur, now makes music sliding
around rather than on its notes.</span><span style="font-family: Arial; font-size: 9pt;">To quote
Moten, ‘The radical materiality and syntax that animate black performances
indicates a freedom drive.
</span><span style="font-family: Arial; font-size: 9pt;">Along the French Psychoanalytic school of feminism philosopher </span><b><span style="font-family: Arial; font-size: 9pt; font-weight: normal;">Hélène</span></b><span style="font-family: Arial; font-size: 9pt;"> Cixous developed </span><span style="font-family: Arial; font-size: 9pt;">Écriture
feminine</span><span style="font-family: Arial; font-size: 9pt;"> to interrogate language as a
libidinal economy of expenditure and loss. Writing in 1975 she imagines new
cultural subjects as, ‘</span><span style="font-family: Arial; font-size: 9pt;">Persons-detached, persons-thought, persons born of
the unconscious, and in each desert, suddenly animated, a springing forth of
self that we did not know about – our women, our monsters, our jackals, our
Arabs, our fellow creatures, our fears…a crystallized network of my
ultrasubjectivities. I is this matter, personal, exuberant, lively masculine,
feminine, or other in which I delights me and distresses me.
</span><span style="font-family: Arial; font-size: 9pt;">Cixous here exploits the binary self-other to
denote a universal and self-reflexive desire <i style="mso-bidi-font-style: normal;">to see and be seen</i>. She urges us to break our differences over our
backs. </span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial; font-size: 9pt;">Feminine ecriture, like hip hop,
suggests a new and freely sensual and aggressively volatile economy. Cixous’
multiple inscriptions of desire meets Moten’s ‘dispersive sensuality’ as we
read hip hop’s triple and quadruple metaphors without the cloak of academic
feminism and the binary terms it has used to mostly demonize the genre:
subject/object, male/female, power/submission, dick/vag… Coming from a strictly
academic feminist background, I’m tired of enacting the same closed slogans,
the circumscribed agendas and consolidation of terms always leading back to the
same predictable questions…feminism must look beyond the ‘penetrative gaze’ into
the ‘break’ into linguistic discontinuity. Does this put feminism and </span><span style="font-family: Arial; font-size: 9pt;">radical political aesthetic reason </span><span style="font-family: Arial; font-size: 9pt;">on a shaky intellectual
edifice? It knocks the edifice on its backside and shouts ‘Yeeeeeeaaaw!’ from
its perch at the edge of the abyss. </span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial; font-size: 9pt;">Pop Culture is a vital source of
gender pedagogy. Even the most commercial, formula-driven music videos feature
bodies and gestures, the enactment of which proceed beyond decorative
value. In the popular artist
Ciara’s video <i style="mso-bidi-font-style: normal;">Ride</i>, her dance is
comprised of a squatting posture closely resembling the yogic asana known as
Goddess. Asanas (yogic postures) are ritualistic gestures that balance or
enhance our state of consciousness. Goddess pose stimulates the uro-genital,
respiratory and cardiovascular systems.
Interspersed with other gladiatorial gestures of sports and combat are
erotic 2<sup>nd</sup> chakra gyrations, making Ciara’s body proper an
undeniable symbol of divine female sensuality and strength.</span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 9pt;"> Leonard
Schlain, notable for his bestseller <i style="mso-bidi-font-style: normal;">The
Alphabet and the Goddess, </i>notes that Goddess worship and female power
depend on the ubiquity of female archetypal images. A Laparoscopic surgeon from
Northern California, Schlain contends that the shift from matriarchal to
patriarchal society corresponds to the introduction of written language and the
subsequent cultural shift from right brain to left brain dominated thinking and
comprehension. In Schlain’s lights, hip hop as a contemporary form of worship
appeals to the non-verbal right brain which is responsible for the
comprehension of the language of cries, gestures, grimaces, cuddling, suckling,
touching and body stance. Hip hop, to use Schlain’s terminology is a veritable
‘kaleidoscopic religious event’ involving all the senses experienced in a
collective state of Dionysian madness. Schlain’s final and most profound point
is that ironically, modern advancements in technology have made a huge cultural
turn back to the image, particularly in terms of the internet.<a href="http://www.blogger.com/blogger.g?blogID=5638090854741679867#_edn28" name="_ednref" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"></span></a>
</span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 9pt;"> With
thousands of individuals across the globe downloading music and watching music
videos online, not to mention taking these sounds and images with them wherever
they go via their ipod/pad/phone – hip hop emerges as not only a collective
form of worship but a free and ubiquitous, multi-sensory spiritual holism.
Rather than conceive internet-age image reception as merely an act of
alienated, passive consumption weighed against some lost dream of utopian
community; let us situate musical fetishism in terms of its relationship to
powerful pre-linguistic devotional practices involving idols, animal totems,
images of female deities and nature. </span><span style="font-family: Arial;">–</span><span style="font-family: "Edwardian Script ITC"; font-size: 16pt;">Katie
Cercone</span><span style="font-family: Arial;"></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 8pt;">KatieCercone.com</span></div>
<div style="mso-element: endnote-list;">
<br /></div>David.Michele Gibson.Basorahttp://www.blogger.com/profile/14357404836423295723noreply@blogger.com0tag:blogger.com,1999:blog-5638090854741679867.post-69187086057862084792012-05-12T10:58:00.000-04:002012-05-12T11:05:47.680-04:00<div class="MsoNormal">
KOFI FOSU FORSON for PLAYspace Volume 1</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
The eminent yet amorphous presence
of Kofi Fosu Forson in our pages is represented by "Fear and Love Inside
The Black Cloak: Hidden Measures of Default/Encumbering Beauty" which
emerges as if fully formed from the poet’s mouth like white hot coals but light
as soap bubbles lingering in a breeze. When I first heard Kofi read it was in
my own living room, to a bunch of us waiting for the festivities to start on
New Year’s Eve. He started the year off right with something from deep within
him that went directly to the same place in each of us. May his words touch you
as well.<br />
~David Gibson </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKfMWUf1dmx0kcjmm9lMwDsNEkhUgzg8XsSjhU-wgoUMBqfBW4DzXZpitlrx2i76OiOTH-cdhMuTg3rXwW0PmrkCfmYTxs55tFPXtAx-bHbeIpchQTtz7SpKAckj7AahFa0F1fSOgrVSHs/s1600/-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKfMWUf1dmx0kcjmm9lMwDsNEkhUgzg8XsSjhU-wgoUMBqfBW4DzXZpitlrx2i76OiOTH-cdhMuTg3rXwW0PmrkCfmYTxs55tFPXtAx-bHbeIpchQTtz7SpKAckj7AahFa0F1fSOgrVSHs/s320/-3.jpg" width="240" /></a></div>
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<br /></div>David.Michele Gibson.Basorahttp://www.blogger.com/profile/14357404836423295723noreply@blogger.com0tag:blogger.com,1999:blog-5638090854741679867.post-58377840608509202562012-05-10T18:22:00.004-04:002012-05-10T23:21:07.103-04:00Sean Greene for PLAYspace Volume 1<div class="separator" style="clear: both; text-align: center;">
<br /></div>
We are pleased to feature in <a href="http://www.magcloud.com/browse/issue/163537">PLAYspace Volume 1</a> both an essay by Sean
Greene on Heather Kasunick and a view into his studio practice and ideas
about art. Greene describes Kasunick in terms that do not make
immediate sense "simple, elegant, doodle-like" but also as "a visual and
verbal journal of things noticed, and those things played with
visually." Greene himself builds color-sensitive constructions that
remind us of flow
charts or lava lamps and give equal play to the authority of science,
sensory
impulses, and a nostalgia attached to rock-n-roll, skateboarding and
graffiti
with anthem-ironic titles like “Dream Your Tomorrow” and “Talk to
Strangers.”
We are left happily dizzy in
figuring the difference.<br />
<br />
Sean Greene's studio: <br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKBYPjlN0NU7jWxgEmbwW8zOquHVADkNV1JAAxVHIuzyE1nh5enHUaekJ4IHY8NEPeEY3hjwKvi1NBNyUgjXdJdoZtgX_DKJzzpS-j8x2_UDJDYpXZw7HaO5h7_X4rVvrXhO5y3Io9x0eJ/s1600/-2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="427" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKBYPjlN0NU7jWxgEmbwW8zOquHVADkNV1JAAxVHIuzyE1nh5enHUaekJ4IHY8NEPeEY3hjwKvi1NBNyUgjXdJdoZtgX_DKJzzpS-j8x2_UDJDYpXZw7HaO5h7_X4rVvrXhO5y3Io9x0eJ/s640/-2.jpg" width="640" /></a>David.Michele Gibson.Basorahttp://www.blogger.com/profile/14357404836423295723noreply@blogger.com0tag:blogger.com,1999:blog-5638090854741679867.post-36329820709640268372012-05-07T18:03:00.002-04:002012-05-07T18:03:28.605-04:00PLAYspace Revolution!<div style="text-align: center;">
Our magazine is now released! We are very proud of it!<br /> <br /> Please be a part of the revolution that is PLAYspace!<br /> <br /> Please follow the link to purchase your copy!<br /> <a href="http://www.magcloud.com/browse/issue/163537" rel="nofollow nofollow" target="_blank">http://www.magcloud.com/browse/issue/163537</a></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicXLEVQmZ7NqwE6g-Df4X6ovMuIV4-EO-K0QTyFn-1mxvJhl-N9JWs6KJSsACXvQuMNQiR3MQZkT2UVLEMOeQ0F5tciyXWzXEsm3SfziEMUti0JOhPeMqP3Ivdf-mgsPu4ZUu6dMh3GjCf/s1600/2012-05-07+16.52.42.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicXLEVQmZ7NqwE6g-Df4X6ovMuIV4-EO-K0QTyFn-1mxvJhl-N9JWs6KJSsACXvQuMNQiR3MQZkT2UVLEMOeQ0F5tciyXWzXEsm3SfziEMUti0JOhPeMqP3Ivdf-mgsPu4ZUu6dMh3GjCf/s640/2012-05-07+16.52.42.jpg" width="640" /></a></div>David.Michele Gibson.Basorahttp://www.blogger.com/profile/14357404836423295723noreply@blogger.com0tag:blogger.com,1999:blog-5638090854741679867.post-33867075342372162702012-05-07T16:16:00.001-04:002012-05-07T17:27:44.518-04:00LAUNCHING PLAYSPACE TODAY<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
We are officially releasing Volume 1 of PLAYspace Magazine today!<br />
<br />
More details to follow...<br />
<br />
Many thanks to our Sponsors and Advertisers without whom none of his could have been realized. Here are some, to name a few...<br />
<br />
<a href="http://www.bernarduccimeisel.com/index.php">Bernarducci Meisel Gallery </a><br />
<br />
<a href="http://www.newmshanghai.com/">M Shanghai Bistro & Garden</a><br />
<br />
<a href="http://www.liz-n-val.net/">Liz-N-Val: Museum of Art After Art</a>David.Michele Gibson.Basorahttp://www.blogger.com/profile/14357404836423295723noreply@blogger.com0tag:blogger.com,1999:blog-5638090854741679867.post-26152213824007455222012-04-04T17:22:00.001-04:002012-04-26T08:28:05.775-04:00INAUGURAL ISSUE / SPRING 2012<div style="text-align: center;">
<span style="font-size: large;"></span></div>
<div style="text-align: center;">
<span style="font-size: large;">Contributions to ISSUE ONE include the following: </span></div>
<div style="text-align: center;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: center;">
<span style="font-size: large;"><u>Special Sections</u>:</span></div>
<div style="text-align: center;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: center;">
<span style="font-size: large;">THE DIARY OF ART - A showcase of Artist's Sketchbooks curated by David Gibson featuring Fred Gutzeit, Landon Jones, and Aya Rosen</span></div>
<div style="text-align: center;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: center;">
<span style="font-size: large;">INSIDE THE ARTIST'S STUDIO - An ongoing section by Michele Basora featuring Amanda Browder, Sean Greene, Elizabeth Insogna, and Lynn Umlauf </span></div>
<div style="text-align: center;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: center;">
<span style="font-size: large;"><u>Articles</u>: </span></div>
<div style="text-align: center;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: center;">
<span style="font-size: large;">KATIE CERCONE </span></div>
<div style="text-align: center;">
<span style="font-size: large;">"Miscegenation Ball"</span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="font-size: large;">MICHELLE DeMARCO </span></div>
<div style="text-align: center;">
<span style="font-size: large;">"Play Dough"</span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="font-size: large;">SEAN GREENE </span></div>
<div style="text-align: center;">
<span style="font-size: large;">"Heather Kasunick"</span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="font-size: large;">BENJAMIN LA ROCCO </span></div>
<div style="text-align: center;">
<span style="font-size: large;">"How To Hang Paintings"</span></div>
<div style="text-align: center;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: center;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: center;">
<span style="font-size: large;"><u>Interviews</u>:</span></div>
<div style="text-align: center;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: center;">
<span style="font-size: large;">THOMAS LYON MILLS with Franklin Einspruch</span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="font-size: large;">NANCY OLIVERI with Ola Manana </span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="font-size: large;">HILDE TEMPELMAN with Michele Basora</span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="font-size: large;">SHINE SHIVAN with Elizabeth Insogna </span></div>
<div style="text-align: center;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="font-size: large;"><u>Collaborations</u>: </span></div>
<div style="text-align: center;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: center;">
<span style="font-size: large;">AMY CHAIKLIN & MITCHELL ROSS</span></div>
<div style="text-align: center;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="font-size: large;"><u>Features</u>:</span></div>
<div style="text-align: center;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: center;">
<span style="font-size: large;">MARCY BRAFMAN </span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="font-size: large;">THOMAS FRONTINI</span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="font-size: large;">ALEXANDER REYNA </span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="font-size: large;">ELIZABETH RILEY </span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="font-size: large;">CHRISTOPHER STRIBLEY</span></div>
<div style="text-align: center;">
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;"><br /></span></div>
<div style="text-align: center;">
<span style="font-size: large;"><u>Fiction</u>: </span></div>
<div style="text-align: center;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: center;">
<span style="font-size: large;">JEREMIAH DUTCH </span><br />
<span style="font-size: large;">"Say It With Flowers"</span></div>
<div style="text-align: center;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: center;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: center;">
<span style="font-size: large;"><u>Poetry</u>:</span></div>
<div style="text-align: center;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: center;">
<span style="font-size: large;">DIANNE BOWEN</span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="font-size: large;">STEVE DALACHINSKY</span></div>
<div style="text-align: center;">
<span style="font-size: large;">"A Hero’s Welcome 2 / The Rainbow Gladiator" </span><br />
<br />
<b></b></div>
<div style="text-align: center;">
<span style="font-size: large;">KOFI KOSU FORSUN </span></div>
<div style="text-align: center;">
<span style="font-size: large;">"Fear and Love Inside The Black Cloak: </span><br />
<span style="font-size: large;">Hidden Measures of Default/Encumbering Beauty" </span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="font-size: large;">JEFF WRIGHT </span></div>
<div style="text-align: center;">
<span style="font-size: large;">"Made in Tasmania"</span></div>
<div style="text-align: center;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: center;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: center;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: center;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: center;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: center;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: center;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: center;">
<span style="font-size: large;"><br /></span></div>David Gibsonhttp://www.blogger.com/profile/06352392151170963862noreply@blogger.com0tag:blogger.com,1999:blog-5638090854741679867.post-40006897786925481002011-08-19T23:23:00.005-04:002011-12-21T13:53:41.508-05:00THE MAGAZINE<div style="font-family: "Courier New",Courier,monospace;">
<b>This is a new project by David Gibson and Michele Basora, a printed<u></u> magazine featuring writing by artists and others in the art world on subjects that they are passionate about. It investigates the sources of inspiration across a wide spectrum of expression.It will also feature other forms of writing, specially curated sections, and visual dialogues designed by artists. </b></div>
<div style="font-family: "Courier New",Courier,monospace;">
<b><br /></b></div>
<div style="font-family: "Courier New",Courier,monospace;">
<b>We were originally inspired by Zingmagazine, the late-90's SoHo based magazine that published artist projects and critical insights on the contemporary art scene.</b></div>
<div style="font-family: "Courier New",Courier,monospace;">
<b><br /></b></div>
<div style="font-family: "Courier New",Courier,monospace;">
<b>We are looking for new contributors and are open to discussing ideas via email. Please write a paragraph explaining the concept of your proposed writing or images. The Deadline for <u>completed writing or projects</u> is January 15.</b><br />
<br />
<b>Please send all mail to <a href="mailto:playspacemag@gmail.com">playspacemag@gmail.com</a> </b><br />
<b> </b><br />
<b>Issue One will be published in time for the New York Art Fair week on March 1, 2012. </b></div>
<br />
<br />
<br />
<div style="font-family: "Courier New",Courier,monospace;">
<b>Sincerely,</b></div>
<div style="font-family: "Courier New",Courier,monospace;">
<b><br /></b></div>
<div style="font-family: "Courier New",Courier,monospace;">
<b>David Gibson and Michele Basora</b></div>Unknownnoreply@blogger.com0