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Interactive archive containing performance videos and images. To be presented in July 2013.
Download the blogs first 40 posts here released on Anne Laplantines net label Universal Music
www.bateau-ivre-horses.blogspot.com
The blog is our refuge as people. Disconnected geographically and communicating independently. When independent of time and space, the form we use is open, even tough we like to think of the conversation as a dialogue, as you always write for someone else. We believe we are poets of the now, of the moment. Our poetry will never be neither accurate, nor concise, so there is no aim for the creation of meaning.
We don’t intend meaningfulness, morality or a hierarchical structure. We like to think of it as “automatic blogging”, based on a very intuitive approach to the creation of words, of the method of putting words together, in rows, underneath each other.
The image can be more important than the meaning of a particular word. The image can be there because of how it looks. Of course the words we use will then create a certain meaning because we like to be dramatic and lyrical of course. I like being a composer of possibilities and an interpreter of my own and of my opposite and recipient. The blog is free to be interpreted to the individual desire of the particular spectator.
The blog also serves the fictive creation of something “bigger than yourself”. The state of me, as a singular being, a private home-grown person is neither intellectual, wise or mystical, nor the fantasy figure of an artist. Even though we can be all of that, we like to dress up as smart fashion princesses. So we can be all of that on the blog, thus wisdom can be found on the blog.
Swimsuit Tissue offers Miss Roboto wisdom in exchange of understanding, vice versa. Understanding is crucial and immanent – it is the unspoken qualification. The blogger is herself the guru, we are gurus to each other.
Our blogging is non therapeutical because there is no emphasis on healing and it does not function as a medicine, a drug or placebo, even though that effect might occur. In fact, our work stabilises us and we can utilise our suffering for the sake of blogging. It is like we are playing dolls with each other and the dolls substitute for undigested items in our environment.
The blog is fictional, as well as any names mentioned. Miss Roboto and Swimsuit Tissue are playing diary together. The blog serves the amplification of our constructed selves – it is channel and vehicle.
About badness:
In general we believe in the quality of the badness in our life and work. This is an essential theme that we have been interested in and working on for years. We want to investigate badness and its temptation. We accept that the blog’s badness is necessary for its existence and that it is forever the very source of inspiration and very much a filter for us to look at the world: its animals and aliens. The representation of our reflection of it all – is the blog.
The blog’s relation and reference to badness is crucial for its existence. It is a source of inspiration that allows us to grow and take any form we or you want. The blog itself reveals our intentions and desires for the blog, the image we want it to communicate, if there is one.
About beauty:
Of course it is a blog about beauty and in the end that is what we always wanted to achieve. Every written word aims for beauty, every arrangement is aware of its form. We ourselves, strive for beauty and harmony. That is our aesthetical choice. Beautiful things are easier to look at. The badness is necessary so we don’t get overlooked, misunderstood or categorised. (Or understood even).
We like:
Haiku, rhymes, rap, songs, stories, biographies, documentaries, all artists, all assholes, money, men, bad performance. (Dykes). This contains all that we currently do.
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Camera, performer: Laurent Proux
Video: Melody Panosian
Music:
Melody Panosian
The-Dream, 1977 (Miss You Still)
Jon Sheffield, Old Long Song (For Melody),
Location: Île-de-France, France
Video: Melody Panosian
Music: Wanda Louise Baton, Cough Offering (excerpt)
http://www.artbomb.nl/page/5448
Direction, costume, performer: Melody Panosian
Camera: Florentina Holzinger
Location: The Amsterdam Music Theatre, Amsterdam 2011
” In the Spinnerei, Leipzig the bare bruised walls signal the end of the industrial era in Western Europe. This place formerly so loud, was left empty and silent. Here Melody Panosians performance What kingdom. Of all damn human. Animals. Nothing important takes place.
The artist, arranged a space with carefully selected objects that find a use during the performances but actually (above all when there is no performance but only the installation) invites the spectator to guess what they could mean.
When she is performing the artist changes clothes and in particular wears what could be an « African costume » (self-made from a colored printed cloth) and a « futuristic costume » (blue and skin-tight) which contrast with each other and are brought to life by the artist’s body.
These costumes bring back a lot of feelings. The « African » pattern evokes another continent and perhaps another time (is it the past?) It appears to be loose-fitting, natural and noble. The colors stand out against the grey/white concrete walls of the Spinnerei. In Wassily Kandinsky’s theory of colors, red or yellow are associated with movement, and white with immobility . As for the « futuristic » costume, it is more reminiscent of 20th century science-fiction movies where humans would have left the earth…
The result (what we can see during the performance) could be summed up as follow: a woman, alone in a free empty place, convokes distant worlds to coexist on stage for a few minutes. Her strength is memory, dream, imagination. With the help of costumes and of the whole performance choreography, she creates with refreshing energy her own visual world. “
- Antoinette Belin, 30 May 2012
Kindly supported by Swedish Arts Grants Committee
My identity as an artist owes to a big percentage to the people that are around me, the performances I have seen, the texts that I am reading, the research that I am doing on the internet, the personal crises and frustrations.
from Bad to Worst
When attending my friends performance at a performance festival, I accidently saw this performance ‘from Bad to Worst’ by Stéphen Delattre. I learned alot from this performance. I learned about the know it all-clown, who fails, but is always serious.
Interview with Petra Cortright
In the very begining of this project I made an interview with Petra Cortright about her vlogging (video blogging). I find Petra Cortright and Anne Laplantines (1) (2) spontanious videos interesting beacuse they reveal things about our daily life and our relationship to technology.
Petra Cortright Interview by Melody Panosian
Sherry
When I discovered Ann Liv Young and her character Sherry some friends of mine where attending a workshop by her so I got the chance and privilige to follow this whole life/art entirety.
Read this text first
Watch this video after
Below, the video that inspired me most
Ann Liv Young interviews Sherry from Ann Liv Young on Vimeo.
Universal Book
Since the Facebook group Universal was created, consisting of people from Anne Laplantines net music label Universal Music, the various collaborations started.
Members of the Universal Facebook group can share their music there. The chat room developed not only a sort of Toilet Humor but we also started to get to know each other and in that process many of my friends there had direct access to the process and development of ‘What kingdom. Of all damn human. Animals. Nothing important’ in fact, they became very much a part of it. Also, the Preporatory videos consists music from these collaborations. Since the start of this group we have been jamming together online via online jamming sites NINjam and eJamming. The recordings where I myself participate are collected in Unicunt 2.0. There are also a other types of collaboration on Unicunt 2.0, like remixes and works on request.
Books etc
Copy Me by Marcus Kaarto och Rasmus Fleischer (Eds.)
Figures of Fantasy by Paasonen Susanna
Net Pioneers 1.0 Contextualizing Early Net-Based Art by Dieter Daniels, Gunther Reisinger (Eds.)
Under the Sign of Saturn: Essays by Susan Sontag
Seven Nights by Jorge Luis Borges
Proud to be Flesh: A Mute Magazine Anthology of Cultural Politics After the Net by Josephine Berry Slater (Editor), Pauline Van Mourik Broekman (Editor), Michael Corris (Editor)
The Thinking-Feeling of What Happens by Brian Massumi
An anagram of ideas on art, form and film by Maya Deren
Varat och varan: prostitution, surrogatmödraskap och den delade människan by Kajsa Ekis Ekman
Revolution and other writings by Gustav Landauer
The Mysterious Stranger by Mark Twain
Black skin White masks by Frantz Fanon
Venus in Furs by Leopold von Sacher
Experimental Ethnography: The Work of Film in the Age of Video by Catherine Russell.
Powers of Horror by Julia Kristeva
Films etc
Der Ister by David Barison and Daniel Ross
Ways of Seeing by John Berger
Devil by John Erick Dowdle
Disney
Dollhouse by Joss Whedon
Vogue Evolution gives Vogue lessons tutorial
Welcome to the Dollhouse by Todd Solondz
The Surprising History of Sex and Love by Terry Jones
Bateau Ivre Horses
I wrote an extensive amount of poetry during the whole project. The poetry makes clear for me, my focus during the process. I published most of it on my blog that I have together with Florentina Holzinger. Click
from Lindenau Museum to Le Louvre
Most of the poetry that I wrote during the process was in the beginning of my collaboration with Stéphane Querrec and our making of the video ‘Flection/Reflection’ for his installation ‘Empty Shells – Dead Time’ at the Kunstverein, Leipzig. We shot the video in Lindeau Museum, Altenburg where I met Ancient Greek sculptures and as always I realised I find it so much easier to relate to objects. The collaboration was not transparent at all, we would write somewhat fictional emails to each other, provocing the other persons most mad side to “come to life”. With this collaboration we wanted to go through our madness, or if you might – badness. Many where the themes and they would multiply, so I went to Le Louvre in Paris to go further in my interest in the Ancient Greek sculptures and its mythological women meeting christianity.
The rest of my Paris time I spent in the Bibliotheque Du Cinema where I read through the book, ‘Experimental Ethnography: The Work of Film in the Age of Video’ by Catherine Russell.
from You People to Me
Video, performer: Melody Panosian
Music: Powdered Hearts, Fake Sleeper
Location: Cemetery at Spinnerei, Leipzig
Video, performer: Melody Panosian
Music: David Hamer Atlas ft Melody Panosian, MelloG
Location: Spinnerei, Leipzig
Unicunt 2.0 (first)
Unicunt 2.0 (second)
Since the Facebook group Universal was created, consisting of people from Anne Laplantines net music label Universal Music, the various collaborations started.
Members of the Universal Facebook group can share their music there on the wall. The chat room developed not only a sort of Toilet Humor but we also started to get to know each other and make music together. Since the start of this group we have been jamming together online via online jamming sites NINjam and eJamming. A small percentage of the recordings are collected in Unicunt 2.0. During the jams people come and go, so who joins is seldom correctly noted. Some jams are not recorded or they are a bit lost for the time being.
I made music videos for some of the songs. See Preparatory videos; What kingdom. Of all damn human. Animals. Nothing important.
and more about the Universal Facebook group You People; ‘What kingdom. Of all damn human. Animals. Nothing important’
Music, video, camera: Melody Panosian
Music: Sean Cannock, Melody Panosian, Penis Mcgee – Jazz Jam
Location: Spinnerei, Leipzig
Album for sale.
Download Part A and Part B released on Anne Laplantines net label Universal Music
I started making music in the midst of Soulseek (http://www.slsknet.org) file sharing community birth. It consisted of me sending a voice through the web and of my friend Anders Hultqvist aka Blgnse/Dty/Same title picking it up, trying to add a body and then returning it. We subtly created the loss and loneliness generated through communication without bodies and the errors and degenerative aspects of broken copies and repetition through faulty hardware. We worked with artificial failings while trying to emulate and better the organic, trying to understand what is body. The longing created through adding and layering sound was also false or imperfect. We called our duo Blgody.
During that time we also had a band in which I played electric guitar, synthesizer and sang. The band/collective is called Frulax/FRLX. We formed numerous solo and collaborative projects; Blgnse, Same title, Karmir Katou, Magoog, Blgody, Sinclr, Fondt, Absoliit, Dty, Memo, Dojan and Greta are a few of them. Soulseek was a place for remixes. Imperfect and always in becoming, but not explicit, not descriptive but performative and pragmatic.
When I started to upload my solo music to the myspace page, it was under the name Greta. Skateboarder Use Log is an anagram of the name Greta and Soulseek.
My later myspace name, Swimsuit Tissue, is the slippery name of a cyber space traveller in constant reincarnation. However, now the same myspace page is merely a memorial of the original one http://www.myspace.com/melodypanosian
There is also an interview with the founders of Soulseek in the blog section of the site.
Soulseek 2001 Soulseek – March 2001 Melody: Who are the creators of Soulseek? Nir: Soulseek is the result of my work, with my wife helping design some of the base functionality, although almost from the beginning Soulseek has grown as a result of Soulseek users collaborating to discover problems and come up with new ideas. Melody: How did you come up with the idea? Nir: Soulseek wasn’t actually meant for the trading of electronic music. After a few months of working at Napster, I decided I really wanted to build my own community software, which would feature file sharing among other things. “Soulseek” was the name of software my wife, Roz, and I planned to do before I joined Napster, which was supposed to do matchmaking between users based on personal profiles. That idea was completely abandoned but the name remained. I spent about three months developing Soulseek before anyone actually started using it. At that time I wasn’t sure what people would want to use it for. Melody: How did you meet the people connected the birth and growth? Nir: Things really started moving when I posted about Soulseek to the hyperreal IDM mailing list. I approached it very carefully because one of the rules of the mailing list was that you weren’t supposed to use it to pirate music. All in all, a number of people took the idea though and decided to try Soulseek out. It was pretty horrible back then — the server kept crashing, the client kept crashing, and it didn’t do like an eighth of what it does today, but many of those people stuck with the program and for months, helped me make it better. It’s a bit sad very few of the original Soulseek users have remained. Melody: How is Soulseek financed? Nir: Soulseek isn’t currently financed and doesn’t really cost anything to operate, although I think that’s very close to changing. The server it’s currently running on, a dorm room computer operated by Zip, one of our oldest members, is starting to bow under the weight of supporting over 600 simultaneous users. Unfortunately, I can’t see a point in the new future where I might be able to afford professional hosting, so for now, we’ll have to deal with the problems as they come. Melody: When was Soulseek put on Internet? Nir: I started working on Soulseek about a year ago. Melody: How do you have time for creating Soulseek if you are not financed? Nir: In the year I’ve been working on Soulseek, I’ve had two different jobs. While I’m working, I try to take a few hours every once in a while to keep developing Soulseek. Zip, who is running the server, is doing an excellent job of keeping an eye on the server. Most of the development on Soulseek occurs when I’m between jobs. Melody: How much time does Soulseek take? Nir: I’m not sure exactly. But Soulseek’s definitely been my main object of attention in the last year, with thousands of hours put into it. Zip pretty much has things automated, but occasionally needs to divert his attention to help me do stuff I can’t do myself on the server machine. Melody: What is Soulseek for the time being? Nir: Well, as I mentioned earlier, I wasn’t sure what Soulseek would end up being used for, and I certainly didn’t know that it would be used at all. At the moment, and in the near future, Soulseek is and will be used for the discussion and sharing of electronic music. It’s actually very fortunate that there was a niche for Soulseek at all. There are a very large number of file-sharing programs out there. Almost all of them serve a larger audience and many of them are more technologically advanced (especially the fasttrack derivatives), but developing Soulseek to cater to such a specific crowd has given me the opportunity to make it into something that’s very well suited for a particular task. At the very least, it makes Soulseek unique. I would like to stress that Soulseek doesn’t only serve the community of electronic music fans by letting them share electronic music, even if that’s the main value of Soulseek. The chat component is very well integrated into the system. When you log in, there isn’t just a search window asking you what you’re looking for. There’s an active chat room filled with people who like the same music as you, there’s a recommendations system that lets you find out about new music based on the music you already know, and there’s a message board and a news site dedicated to the subject. People use Soulseek to talk about, discover and get electronic music, and if Soulseek is to keep growing, it’s probably by doing that better. Melody: Will you need financial help for Soulseek to maintain in the
http://mutanten.org/blog/fnor/
Our collaboration initially started as a misunderstanding, which is often the case when communicating on Internet. By using the nickname “Netochka Nezvanova” I got an email from a fellow space-traveller, Kiritan Flux, who claimed to have met me.
memory 1: The audience is presented with two adjacent screens representing two separate, but interwoven worlds that attempt to communicate – between each other and the performer on stage. The installation wants to share the experience of the refiguring multiple travelling affinities in the real and the virtual world.
It’s a glimpse into the journey of hypertextual flesh through timespace, exposed to a constant stream of information and emotion from the future and the past – poetry that will prevail.
Performed on October 26, 2010 at På Besök, Malmö, SE
Did we meet? was my first reply and from that moment on we exchanged poetry during the whole summer of 2010. Our emails where Intertext poems about our separate love lives, which also initially started off being virtual contacts.
Did we meat?
In October 2010 we started making performances together with the poems (e-mails) as a starting point. The title of the performances are ‘Did we meat?’ We want to share the experience of the refiguring multiple traveling affinities in the real and the virtual world. ‘Did we meat?’ is a glimpse into the journey of hyper-textual flesh through time-space, exposed to a constant stream of information and emotion from the future and the past – poetry that will prevail.
‘Did we meat?’ is a hypermedial performance in constant progress. It’s not a final piece, not a static product, but a permanently changing and evolving happening, inspired by the initial exchanged poetry and the ongoing mutual inspiration derived from present communication between the two of us and the various virtual, digital selfs we embody in the online world. Every performance is a singular experience, it happens once and is not repeated. Every performance is a different piece in itself, but at the same time embracing the priors, weaving the past into the present and future. Hyper-textual flesh has no history, no time, no space, no constants but steady change and progressive evolvement.
” …doing rather than being Your work looks interesting. Its a bit vague and cryptic for me. I like the story of fighting in the nightmare I had a similar dream but cannot remember in details “
memory 2:
Performed on November 6, 2010 at Die Frühperle, Berlin, DE
Performer, video-installation, music: Melody Panosian
Live visuals: Kiritan Flux
Location: Die Frühperle, Berlin
Tomorrow came, we are already downloaded. The meat is really physically changing since the Internet. What is happening is an abstraction or complexification, hybridisation of social bodies and qualities, themes, physicalities, dynamics, which, for us, are poetically inherent to those bodies in a real or imagined society. We are in a state of transition and what have become of our bodies? We am attracted to materialising the metaphysical. The new flesh. The idea being that the resulting movement can in turn nourish more sensation and imagination for the art work and for the audience. The structure of our brain changes just by using Internet every day. Checking email is becoming an automatic action. We’re used to non-linearity, copy-paste writing – which is more “natural” than linear full text writing. We’re on the verge, something’s coming, something’s coming, something’s coming.
The above text is an example of typical intertext; three texts woven into each other by copy-pasting. An example of the very working method in which ‘Did we meet?’ started off.
And so I made this blog http://notraces.wordpress.com/
Nicola printed and exhibited the blog with the title ‘Dirty Sheets’ in
Loop Space – Digital Media Art Space in Newcastle, Australia:
http://spymissions.wordpress.com/2010/02/18/e-mission-1-complete-spy-mel-snowman
More about Nikola Mortons project Spystation NC1074:
http://renewnewcastle.org/projects/about/project/spystation-nc1074/
Video-installation / Performances 16-28 October 2009 Kunsthaus Bethanien, Berlin
Weaving the Webs is a video/installation that includes 8 performances. Each performance had its own title; Dry, Suitcase, Factory, Ones, Zeros, Unlooped, Looped and Woven. The 8 performances where metaphoric, action based and about 2-7 min of length. The installation was transformed after each performance; The web changed shape and quality, the net was interwoven and the boxes where moved around. During the 3 week exhibition period mine and my colligue, Sara Harro’s ideas where also interwoven and we wanted to keep that process similar to the hypertextual chaos that is characteristic to the internets condition. We dealt with health and community in the drudgery and mediocrity of neo-liberal culture. We where inspired by cyborg women, innocence in all its forms, computers as artists, people as machines and nature as technology.
Direction, choreography, performers, costume, installation,
camera, video: Sara Harro and Melody Panosian
Music, loop machine: Melody Panosian
Location: Kunsthaus Bethanien, Berlin 2009
Performer, Circuit Bent Radio: Melody Panosian
Camera, video: Unknown
Location: Witte de Withstraat, Amsterdam
Posted Soon
During choreography studies in Visby on the Swedish island Gotland I hosted a radio show on Just Radio FM 89,2 every sunday afternoon. The weekly radio show, i called SHE DID, because I played music made by woman. What made me come to that point was that for years I was dj-ing at clubs and benefits – but mostly electronica, hip hop and experimental electronic music made by men. I wanted to actively broaden my own and other peoples knowledge on music made by woman. The music on SHE DID was very varied. I mostly played punk, hip hop, electronica, singer-songwriter, pop/rock and experimental/art music. I would also tell about the musicians backgrounds, how the bands were formed and the innovations they made and/or are still making.
On occasions I made special programs, like the interview I did with Lise Axelsson the founder of Ella – a pop/rock music school for woman on Gotland. We talked about the conditions and strategies of young woman musicians. On an other occasion I made a Kate Bush special in which I mostly played songs from the albums that she produced herself. I told about her development and the innovations she made.
Host, dj, editor: Melody Panosian
Location: Just Radio FM 89,2 Visby, Gotland
play music box =) 
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