Petra Kuppers, Amber DiPietra, Violet Juno, Margit Galanter
MARCH 20TH-APRIL 4TH, 2015
In March Ragged Wing Ensemble presents four new short plays written and directed by members of the Ensemble. By turns wistful, comic, incisive, and mythic, playwrights Anthony Clarvoe, Cecilia Palmtag, Addie Ulrey, and Windy Wynazz address fundamental questions about how we create and find home on an elegant set designed by Erik LaDue. All four plays will be performed each night; running time is approximately two hours with one intermission. The series will run Fridays & Saturdays at 8:00 pm and Sundays at 2:00 pm, Tickets are $20-40 sliding scale and available now.
Mar 12 2015 – Mar 14 2015
Multi-award winning digital dance performance Hidden Fields is a high-impact and accessible show which has been shown internationally at many of Europe’s leading digital art venues over the last few years. Fusing rigorous methods from computational physics with state-of-the-art computing, Hidden Fields uses real-time 3d capture to interpret dancers as fields whose movement creates ripples and waves in an invisible sea of energy. The result is a gentle piece comprised of interactive graphics and soundscapes, all of which arises in direct response to the motion of dancers as they use their bodies to sculpt the virtual field in which they are embedded.
Hidden Fields provides a unique and subtle glimpse into the beauty of our everyday movements, coaxing us to imagine how we interact with the hidden energy matrix and atomic world in which we are embedded and which forms the fabric of nature, but is too small for our eyes to see. It’s as much a next-generation dance piece as it is an invitation to contemplate emergence, dissipation, and the interconnected dynamism of the natural world – from the microscopic to the cosmic. Hidden Fieldshas been constructed using the “danceroom Spectroscopy” technology, and has arisen through a unique collaboration involving the NanoDance collective, a talented group of scientists, artists, and engineers.
Hidden Fields is a 50-minute performance which will be introduced by Royal Society research fellow and Stanford academic, Dr. David Glowacki. Immediately afterward, the performance space will transform into an installation space. The audience will be welcomed onstage to play with their own energy avatar and interact with the Hidden Fields artists.
Support for Hidden Fields performances comes from Arts Council England, Stanford Arts Institute, Z Space, the Royal Society of London, the Engineering and Physical Sciences Research Council, NVIDIA, the Watershed digital media centre, the University of Bristol, and Interactive Scientific Limited.
“I went to a number of women’s groups and said: ‘Can you help us find folks?’ And they brought us whole binders full of women.” – Mitt Romney, during 2012 presidential debates
Every year since 2009, the VIDA counts of bylines by gender have shown us that women and gender nonconforming writers continue to fall far short of equal representation in major magazines and literary journals. And the Women’s Media Center has found that women’s representation behind the scenes in film hasn’t increased in fifteen years: the percentage of female film writers dropped from 13 percent to 10 between 1998 and 2013.
In response to these dismal statistics of gender disparity in the media, Out of the Binders, Inc. formed in the summer of 2014, with a plan to increase the diversity of voices in the media and literary arts by empowering women and gender non-conforming writers through biannual professional development conferences.
|Amber DiPietra with IwamotoScott Architecture’s Jellyfish House, 2005—6; Collection SFMOMA, Accessions Committee Fund purchase; © IwamotoScott Architecture|
Questions for Amber:
for someone i miss. you.
1. I have always known you as someone working through the corollary practice. So that it’s not just writing. But this other kind of work. Can you talk about your corollary practices in the Bay Area and what they are now that you are based in Florida?
2. What is it like living in St.Petersburg?
3. Define: errata, blips. How has the writing you do on your blog Falling In Real Time evolved?
4. We met through feminist small press culture in the Bay Area, but also our shared interest in a) owls, b) what a day is, c) being with others in ways that can’t be predicted. Can you say something about c) and the experience of what you call “palmetry.” Don’t worry. I will try to pre-explain this interview for our readers in a) Bhutan, b) Portland, Oregon, c) Sydney.
5. Who are you and who do you love?
6. Look up the poem FAIRIES by Mei-mei Bersenbrugge on Lana Turner Journal (online.) I invite you to select a line or set of lines, and to respond to them with reference [gesture] to your own dream of writing and what the writing [not writing] might be.
7. Can you take a picture of the contents of your handbag or satchel and annotate them. Or list them. I think that would be satisfying.
8. Tell me how to make the amazing coffee you once made for me in San Francisco (that never tasted the same when I tried to make it by myself.)
9. Who were your meat ancestors?
10. How did your jellyfish performance at the San Francisco MoMA change what happened afterwards in your writing? [I will link to it in my question, but you could also summarize or describe what that was.]
AMBER — is it possible to answer these questions in any form that seems fit?
PS: The corollary practice. Ok. Let’s add this question.
What is the relationship between sex work and writing for you: right now? Can you say something about your sex work, too, and how you came to it.
BK, answers will be coming later tonight…
BK, this is absolutely the best time ever to be conversing with you on your blog. As many things are shifting in my life, seismically. Like the time you came to take care of me when I was a black hole of broken hearted nests and we drank Café Bustelo. Things are still shifting according to heartbreak and longing, but in a more ecstatic way. Please note, there will be many, hopefully, poetic typos in this interview. I have decided, that is my organic style as a writer, a somatic writer. I am using speech to text now. It is a way to swim in writing, despite arthritis and glaucoma. It is making me more in love with the writing than I ever have been. Because I never wanted to be a writer really, I wanted to be Cyndi Lauper a Madonna, from the time I was three years old. It is all about performance and process. Typos are shit and the dirt of language, for that reason I like to leave them, or a good majority of them, in there. Shit, get a language, poetry, Madonna, Cindy lopper, pictures of colors which correspond to chakras… I am going to send them to you and you can include them in the interview on the blog if you want. Here is the first, as a corresponds to read, the sacrum.
The red red dirty red of the New Orleans kind of place I live in now. I was ashamed, but I had lost my mind, thought I had failed, when I left San Francisco and return to my native Florida. But things are starting to make sense here, it’s the route for me. The root chakra. We didn’t talk about chakras when I did the rituals with you, to prepare me for my life as a bodyworker. But they had become an easy translation. Easy as in accessible. I make a conversation with the spine through the chakras and especially their colors. Usually, this is a sensual conversation. It is about the way a person’s body receives sensual energy and is revitalize their sensual energy, as it touches every part of their life, sexual and nonsexual per se. That is how I became a sex worker. Shortly after you and I did our rituals, though at the time I had no idea they would leave there. I have always been a sexual artist though. Poetry and graduate school was just an excuse for me to keep using my disabled woman’s body as a sexual lens and and empowered sacred plaything. Recently, I got my certification as a sexological bodyworker from the Institute of advanced studies of human sexuality in San Francisco. Interestingly, it was half a block away from the apartment I lived in for eight years in San Francisco, though I was not ready to merge with it until I had left California. Sexbod work is only legal in California, Canada, and assorted other countries. In Florida, I am a more generic intimacy coach and performance artist. I am in despair about my writing. I do not know what form I wanted to live in writing seems to constrict need a form. I am much more in love with doing bodywork, with the spine, instead of manifesting as writing. But I know I won’t be truly happy until I figure out how to live again as a writer, so this interview with you is a nice new doorway to that.
Part three so yes, I am a sex worker. Which, means, in our society, something illegitimate, marginal, illegal. I am doing my work in the light, but I am just the same as any sex worker. And I am proud to say that I started the Florida chapter of the National grassroots nonprofit, the sex workers out reach project. I should send you a link to that. I will. We need more people to join! Besides New Orleans, we’re the only other SWOP this in the south, besides Nola.
Living in St. Petersburg is a miracle unfolding. Florida is the place time forgot. John Stewart, has unfortunately, given it it’s absurd moniker. But as a sex worker, I am more than happy to live in the is phallus of the United States. It is 85° right now, it is February, I am sitting on a friends balcony, it is a Wednesday, Rihanna is blasting from the sidewalk bar, there are people in business suits and bathing suits. I was suicidally depressed when I came back to Florida. I came to be reborn. I left Florida because I felt like I could never have a culture, the opportunity, the sex I wanted here, disabled woman and as a poet. So when I move back, nearly 2 years ago, I felt that I had hit bottom. I came back to die. And now I am alive again, in a different way, feeling closer to the earth that I have ever been.
Part four I am looking at your list of questions, but not going in chronological order. You taught me that. I have had to overcome my Virgo nature. About the coffee question, you made that. You woke up before me on those foggy Berkeley mornings and brought me that coffee. But yes, it yes, it was my Cuban ancestors who are responsible for its existence. My meat ancestors — Sicilians, Galicians, provisional Cubans who came to Florida to work and cigar factories. They made the city that I now live in. They are insular, Xena phobic, overprotective, fears, lusty but ashamed when it comes to the body. I am bringing them to their limit, with their knowledge of the erotic work I do. Right here, in their town. Miraculously, this has come with some great acceptance on their part, and crazy transformations.
[Chakra Notes: After the interview is published, Amber sends me a sequence of photographs — real time — of the chakra system: with captions. Here they are: out of order. Vibrant. With a sentence beneath:]
|Orange, sexual chakra or the center of passion for creation. My bedspread, even on a green morning|
|The white and the black, I did geode split open, of the crown chakra, photos of meat ancestors|
|Violet glittery dark interior third eye. The woman holds it owl. Rose oil and Violet glitter never too much|
|Dirty red red, street red. Root chakra, the ground.|
|Saw Florida interior Winter green. The heart.|
|Solar plexus with yellow walls. Every thing that we have/been/held by.|