{"id":1877,"date":"2018-05-05T09:26:30","date_gmt":"2018-05-05T09:26:30","guid":{"rendered":"https:\/\/alfabus.us\/?p=1877"},"modified":"2021-09-17T10:37:56","modified_gmt":"2021-09-17T10:37:56","slug":"proximity-new-a-v-work-premiers-in-interim-a-journal-of-poetry-and-poetics","status":"publish","type":"post","link":"https:\/\/www.alfabus.us\/proximity-new-a-v-work-premiers-in-interim-a-journal-of-poetry-and-poetics\/","title":{"rendered":"Proximity \u2013 new A\/V work premiers in Interim: A Journal of Poetry and Poetics"},"content":{"rendered":"<p>HYENAZ latest multimedia work, PROXIMITY, has been released by <a href=\"https:\/\/www.interimpoetics.org\/\" rel=\"noopener\" target=\"_blank\">Interim: A Journal of Poetry and Poetics for their Body Issue<\/a>. This issue has been carefully curated by Autumn Widdoes, who took the opportunity to integrate her background in dance, performance, and poetry, to actively include works which \u201crequire the presence of the body.\u201d We are so pleased to be part of this expansive approach to poetics and we are eternally grateful to the artists who made this work with us: movers Danilo Andr\u00e9s, Tereza Silon, Simon(e) Jaikiriuma Paetau, Bishop Black and ROC and cinematographers Jo Pollux and Raja de Luna.<\/p>\n<p><iframe loading=\"lazy\" title=\"HYENAZ - PROXIMITY (Official Video)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/oGXzguT5-8E?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe><\/p>\n<p>Proximity, we might say, underlies everything\u2013and nothing. A measurement of distance, an exactitude that defines a broad range of emotional perspectives and access to privilege. Birthright. Mobility. Trust. Community. Family. Language. Safety. Neighbor. Care\u2013if one cares and how one cares.<\/p>\n<p>But then again\u2013does proximity bind? And what, if anything, is modified in the exchange of touch, skin contact? At the point of acceleration\u2013what\u2019s the thing that draws us together? That motivates care? And in the absence of touch, of proximity\u2013what then? Do digital proximities fill in the emotional gaps, does VR substitute skin contact? Is Proximity, then, a hallucination? A necessary hallucination?<\/p>\n<p>Building on the previous methods we developed for our work BINARIES, we utilized techniques and forms of attentiveness to create a work of A\/V poetry: frames as syllables, seconds as stanzas, text merged with image, bodies merged into other bodies, subjects merged into objects.<br \/>\nProximity attempts to represent not answers but questions, questions which are more often felt than articulated because their formation escapes both everyday and specialist academic vocabularies. They are questions posed by the skin, by orifices, by a gaze that mediates recognition or its opposite, care or its opposite across a room, across a skype call, across a Guardian front page.<\/p>\n<p>These questions are suggested but not wholly contained by the video\u2019s text:<\/p>\n<p>do you recognize me my your sovereignty \/ I am not close to you \/ I am not there \/ it is not me \/ I make better contact with your ghost \/ how much of my body could I lose \/ does our proximity bind us \/ I am afraid to touch \/ I might get a sense of you if you were within \/ reach \/ the further away you are the easier it is to ignore you \/ are we close \/ even though we touch \/ I you can\u2019t hear my your voice \/ proximity<\/p>\n<p>These corporal questions are multiplied by the encounters that proliferate as a consequence of hypermediated thought and speech acts. Ultimately they form a territory for experience. Other bodies, present in their absence, or absent in presence, disturb my relations to my own body enmeshes my body in ever-multiplying exchange practices \u2013 of money, of fluids, of goods, of glances exchanged.<\/p>\n<p>Each of these interlocutors is a singularity in and of itself. The other that is the subject\/object of my gaze\/desir\/touch, or in whose gaze\/desire\/touch I am objectified\/subjectivised, this other deserves its own question that is not subsumed in meta ethical questions like \u201chow should others be treated?\u201d Yet the work of asking this question for all the entities with which we are connected exceeds the limits of expression.<\/p>\n<p>Proximity does not seek to ask the question for every body present to consciousness but to identify the necessity of seeing each relation we have \u2014 even those we have to invisible others via media, geopolitics and global systems of manufacturing and food harvesting \u2014 as worth questioning, as worth raising as a form of potential intimacy.<\/p>\n<p>PROXIMITY is the first in a series of singles, associative mixed reality performances and audio visual installations that interact with the conceptual origins of the auditory process, entitled Foreign Bodies. The work has been developed through the practice of learning from individuals and communities who move in resistance to, in spite of, and as a result of the management and control of bodies by states and other authoritarian actors.<\/p>\n<p>The music originates from original recording of frogs who reacted to the proximity of the field recorder and our presence by changing their intensity and volume. HYENAZ used this as inspiration for the conceptual work and sonically extrapolated from the field recordings in order to create this techno track.<\/p>\n<p>PROXIMITY will be released this May, along with five remixes by Dorninger, oKPk, The Shredder, El Fulminador, and DFUMH, on our Berlin label SPRINGSTOFF.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>HYENAZ latest multimedia work, PROXIMITY, has been released by Interim: A Journal of Poetry and Poetics for their Body Issue. This issue has been carefully curated by Autumn Widdoes, who took the opportunity to integrate her background in dance, performance, and poetry, to actively include works which \u201crequire the presence of the body.\u201d We are [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[19],"tags":[],"_links":{"self":[{"href":"https:\/\/www.alfabus.us\/wp-json\/wp\/v2\/posts\/1877"}],"collection":[{"href":"https:\/\/www.alfabus.us\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.alfabus.us\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.alfabus.us\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.alfabus.us\/wp-json\/wp\/v2\/comments?post=1877"}],"version-history":[{"count":0,"href":"https:\/\/www.alfabus.us\/wp-json\/wp\/v2\/posts\/1877\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.alfabus.us\/wp-json\/wp\/v2\/media?parent=1877"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.alfabus.us\/wp-json\/wp\/v2\/categories?post=1877"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.alfabus.us\/wp-json\/wp\/v2\/tags?post=1877"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}