No te mea ra ia, he rakau tawhito, e mau ana te taitea i waho ra, e tu te kohiwi – in a very old tree you may be certain that the sapwood is on the outside, while the heartwood is in the middle.
Calling all artists from across the disciplines in Aotearoa New Zealand: we have a responsibility to imagine, depict and construct the country we want to live in through our artistic expression. This country has been hijacked by global corporate criminals, our sovereignty and freedom denied. Just as with previous artistic revolutions in the past (from Italian Futurism, Russian constructivism, Latin American agrarian and North American civil rights), it is incumbent upon us to act now to depict in terms of art the tenets of a new belief system for this land, a new imagination for Aotearoa.
To re-imagine our society through artistic practice, is to rebuild it on foundations of equality, authenticity and infinite possibility. Aotearoa is at a cross-roads – artists are desperately needed to create and articulate a new society, where human freedom and natural law rights are once more heralded as inviolable, and notions of indigenous belonging are put centre stage.
On Revolutionary Practice in Art:
Aesthetic Revolutionary Avant-Garde Artistic practice incorporates the finite materiality of art in a deep process of transformation of idea and form. Freed from the homogenised corporate rendering of practice and the manufactured world of idea and convention, the revolutionary avant-garde embraces diversity of expression, and both re-creates and re-imagines an aesthetic world of possibility removed from monocultural assumptions of universality in the current bounded mental landscape.
The revolutionary avant-garde artist forges a new mental pathway, fired by imagination and an understanding of the importance of challenging the status quo and realising the potential embedded in a multi-voiced equal society. The spectacle of art is removed and replaced with artistic practice as challenge to structure – both those structures built by hierarchy and imperialism in our built environment, and those built by tradition and the selective writing of history and convention in our mental environment.
Aesthetic revolutionary art is:
a multi-voiced intertwining of languages in the arts from different classes
a multilateral sense of historical engagement in the arts featuring both old and new expressions
a new hybrid sense of cultural identity at odds with conventional mono-cultural views
an anti-colonial force of renewal
a new conception of space/Space, and of time and the various means of the unfolding of time
an elaboration of certain truths that when exposed have explosive and transformative power
the foregrounding of youth and originality
the championing of experimentation
the expanded notion of art to embrace perception, aesthetics and expression in art-action
not a decoration or depiction of life, but a building of it
not utopian, because Utopia is static.
a transcending of concrete reality to seek for form and essence
a process of seeking, conceptualising and imagining
a rejection of the over-organisation of life and the abdication of independent thought to consumer culture, and hierarchical power relations between the state and the individual.
a reconfiguration of the distribution of the sensible in defining the commonality of the community
While appearing to be only goal-oriented, the aesthetic avant-garde causes both immediate events and continuous processes, materialized in attempts to profoundly change sense perception and to effect a redistribution of the sensible, engendering new visions of society (and life). It is an aesthetic response to demanding that art moves from representing (or as disinterested contemplation), to transforming the World. It is not just a series of artistic phenomena that are similarly politicized by coincidence – it is an attempt to unify for optimal projection the political components of human art. It is an attempt to liberate hegemonic order and hierarchical structure from itself. Socially engaged art is more than a movement or a spectacle of static appreciation; rather it is cultural practices that indicate a new social order – ways of life that emphasize participation, challenge concentration of power and span disciplines ranging from urban planning and community work to theater and the visual arts.
Avant-garde revolutionary artists climb the stage, depict life in the street and fight for their ideas; they no longer demand from history to register their words and their witnessing on its terms, it is them who make history.
On Revolutionary Sound:
The present moment is infinitely small, and once we attempt to measure it, it has already disappeared; yet it remains forever. Our consciousness of this moment is a spark of the almighty consciousness of the Creator.
We perceive our being in this world through our conscious perception, and we place ourselves in the physical location of time and space, as a being composed of vibrating molecules, producing sound and movement, and animated by thought, speech and action.
The sound and space that we find ourselves in both have a dynamic relationship; a relationship that is inherently conversational.
Sound occurs amongst bodies, generating multiple “viewpoints” from them, and amongst architecture or objects it also reverberates, echoes, contorts and amplifies.
Just like sound, expression oscillates between the body/self and the world; or as conversations of art read through fantasies of possibility at the moment of the sound’s “becoming”.
To be aware of sounds is to be aware of oneself, and aware of something capable of being shared together.
The human voice is a sonorous event leaving the body, and returning laden with meaning, being identified by it an instant later. Sound and the self are intertwined, traveling into space together.
Sound and place can be tuned together as an expanded instrument. The spacialization of sound allows us to listen to our listening; a deep listening to the whole field of sound, unfolding in time and space.
Listening makes one attentive to the greater context, rather than through linear determinations of one’s own will. It creates a structure of feeling, in which imagination becomes a collective tool for transformation of the real.
Sound is always already there.
On Law and Self:
Who are you? How are you defined?
From the moment you were born, you were a free human being, with inviolable rights intact.
Those rights were subsumed by the state in the creation of a legal fiction ALL-CAPS name. This name was created and registered (via your birth certificate) with the Crown Corporation as a form of ownership (hence registration). You then became a chattel under the legal system owned by The Crown, who from your birth has traded, taxed and controlled your sovereignty from this moment onwards.
You as a living breathing person, and divine soul encased for a time in a physical body are separate from this legal entity created by your birth certificate. The crown constantly forces you to represent this legal entity through its taxes and notices, it’s failed notions of nationhood and community. And you consent to this every time you pay a fine or a tax on behalf of this entity.
You do not own this entity. It is owned by The Crown Corporation (The British Queen/King). Any attempt to use this name to relate to you, is fraud.
Correct your status in The Law and start acting as The Executor of your affairs, the occupant of the Office of Executor for your Estate and the Cue Tui Que Vie Trust that is currently in place.
We are born free on a planet unbounded, sovereign, and unrestricted by human notions of ownership. We are born as a direct reflection of the Universal Creator into the brotherhood and sisterhood of Humanity, across all cultures and traditions beyond corporate notions of ownership, division or race.
Let it be that way again.