In Search of A/The Point of Life

Posts Tagged ‘between life & death’

WE HAVE RUN AND COMPLETED OUR FIRST LIFE 1.0 MARATHON, FOLLOWING THE FOOTSTEPS OF THE PILGRIMS. Thank you all for your support and donations! BIG THANK YOU to the organisers too!

PS We must also congratulate Team Carter, led by one of the organisers, HILLARY CARTER who was running with his son Henry and wife Trisha. This was Trisha’s first marathon, and Hillary’s ONE HUNDREDTH!! Hence qualifying him to the prestigious 100 marathon club. How very inspiring indeed. Watch out Hillary, HERE WE COME! 99 more for us to go (hopefully within this lifetime?)! We also put up a review in Runner’s World and note that we are definitely not alone in our appraisal of the amazing event!

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PARTLY IMAGINARY CHARACTERS THAT WE ARE, OUR BRUISES ARE FOR REAL: An ongoing catalogue of our Miss Haps (+insults to our injuries). Having come thus far, we will still do our best this Sunday. Fingers (and eyes, and toes) crossed. Watch this space. Don’t move (for we will).

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IS A CIRCLE ALSO A LINE? CAN A LINE ALSO BE(COME) A CIRCLE? The Bras Basah Station permanent public art work post #5.

In our final post about our permanent public video installation at the award-winning Bras Basah Mass Rapid Transit station in Singapore, we share an external coverage of the work at Today newspaper by Mayo Martin, who has told us that this is his favourite of the art works commissioned by the Land Transport Authority of the Circle Line. Do let us take us for a ride on The Amazing Never-ending Underwater Adventures!

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CAN WE GET OUT OF THIS CIRCLE, OR ARE WE BACK TO SQUARE ONE? The Bras Basah Station permanent public art work post #3.

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WERE YOU RIDING THE TRAIN ON THE SAME CIRCLE LINE IN THE OPPOSITE DIRECTION? The Bras Basah Station permanent public art work post #2.

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IN ONE OF HER PREVIOUS LIVES, KAIDIE WAS DESYPHUS, SWIMMING ROUND AND ROUND THE CIRCLE LINE IN SINGAPORE. The Bras Basah Station permanent public art work post #1.

* Read about Bras Basah Station on Wikipedia.

* Read about the Circle Line on the Land Transport Authority site.

* Read about the Circle Line on Wikipedia.

* More information and images of the Circle Line  here and there.

* Read about award-winning station designed by critically-acclaimed WOHA.

* Look up images of Bras Basah Station on Flickr.

** LAST 2 DAYS OF THIS MONTH TO VOTE! Currently a top film in the War of Films contest: CLAUDIA TOMAZ’S film about KAIDIE AND HER MEANING OF LIFE 3.0. VOTE NOW!** Vote by clicking on + sign at the top of video player. ** Don’t forget to vote for Episode 2, Run Kaidie Run, too!**

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BLACKED OUT ENDS THIS SATURDAY! MISS AND LIVE TO REGRET.

Thank you for coming to the opening of Blacked Out last Thursday! NE7, a sound artist, performed for the evening. This is a group show that we are participating, curated by curator-educator-artist Jennifer Hankin, who is pictured here placing LED-lit balloons at the entrance with fellow exhibiting artist, Lisa Metherell. Thank you Jennifer, Mr Hankin, Faye, and all other artists for the exhibition!

To complement the ‘underground’ theme of the show – given that it takes place in an arch – we shared a work that features a character from a parallel life, ‘Desyphus’, underwater. Is she sinking? Is she afloat? Is she caught in a conundrum, as it were, in time and space in a 3-minute digital loop? This work is an edited extract of a chapter from a 29-chapter large-scale permanent projection in the Bras Basah subway station, located in the centre of the Arts and Heritage District in Singapore, commissioned by the Land Transport Authority of Singapore. We will be talking more about this work in the weeks to come.

Do come and catch this and works by 8 other artists at Blacked Out! Hurry, for it ends this Saturday.

** Currently one of the top competing films in the War of Films contest with 100 votes: CLAUDIA TOMAZ’S film about KAIDIE AND HER MEANING OF LIFE 3.0. VOTE NOW!** Vote by clicking on + sign at the top of video player. **Don’t forget to vote for Episode 2, Run Kaidie Run, too!**

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HITS & MISSES, FITS & KISSES: Let’s agree not to run into each other, but won’t you let us take us for a ride? GAME FOR A COLLABORATION WITH US ON OUR EPIC QUIXOTIC QUEST?

The trans-dimensional runner of this quixotic life has at any one time one foot on the ground, pragmatic/rational/grounded in sturdily hardcore realism, and the other airborne, in cuckoo land and blue skies, with extra-terrestrial visionary eyes on each (swollen) toe, taken with skyscraper-tall mountains of heartattacky salt.

In this Web 2.0 Do-It-With-Others storytelling exercise, we have been privileged to have undertaken several collaborations with you, in our quest for the Meaning of Life 3.0. Here is an other idea for a collaboration (first conceived in early 2010):

As it is, we have not met 99.782 per cent of you, given that our interaction has been only in Life 2.0, ie, via the channels of this running blog, Facebook, Youtube, GPSies, Twitter and so on – and our imagination, of course. Also, given that we are partly an imaginary creation, meeting in real life is possibly an unimaginable task. (That said, we do not think that encounter in one dimension is of lesser or more significance than an other) In this idea of a project, to make the point that we want to maintain or create a critical distance between us, let us go out of our way to deliberately not meet in Life 1.0. The way to go about doing this is that one person shares her routine over a prescribed period of time. The other person – let us call them the/an ‘anti-stalker’ – will journey on the same route, but intentionally missing the previous person, by a few minutes/moments/metres/centimetres.

The thrill/beauty/cruelty/point of the game is to come so very close to have nearly met – but to just stop short of actually encountering the other. Afterwards, the pair could compare their GPS tracks and find out and plot, point by point, by exactly how much they have missed each other. (And of course, this sharing can be done remotely). As a consequence, one or both parties can derive (perverse / poetic) pleasure from the fact that they could theoretically have been in the same time and space, and could have had an encounter, but willfully and precisely do not. The deliberate orchestration of a denial of a run-in is the point of this project. Hence, we will never come face to face and whisper ‘Hi!’, ‘Nice to meet you!’, ‘Nice to meet you again!’, ‘And who are you?’; one may come close enough to catch a whiff of the other, or sneak a peek of the other’s shadow, or catch a dying footprint, but / and that is about it.

The game can be more fun if more participate. An orgy, not of presence, but absence, with participants who are missing – although we will hardly miss one another.

The great thing about this project is that it is of course hardly original, as many of us are already accomplished practitioners in some degree or an other, but, my Dear Conspirators of Pleasure, do you not think that it will be infinitely (more) enjoyable should we make this a studied and planned collaboration/game, with set parameters to play?

So, are you game? (Ah, the wonders of technology, to allow us to indulge, stretch and realise such fantasies…)

** Currently #5 in the War of Films contest: CLAUDIA TOMAZ’S film about KAIDIE AND HER MEANING OF LIFE 3.0. VOTE NOW!** Vote by clicking on + sign at the top of video player. ** Don’t forget to vote for Episode 2, Run Kaidie Run, too!**

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WITH 755 DAYS LEFT ON OUR LIFE (or DEATH) SENTENCE (until the last day of the Nondon Olympics on 09.09.2012), HERE IS AN OTHER MINDMAP OF/FROM KAIDIE’S SEMBLANCE OF LIFE (3.0).

I trust not premonitions and I fear not omens. I flee / not from slander nor poison. / There is no death. / We are all immortal. All is immortal. Fear not / death at seventeen nor at seventy. / There is only reality and light. / There is neither dark nor death / in this, our world. / We have reached the beach and I / am one of those who pull the nets in when / immortality arrives in batches. Live / in a house and it will not crumble. I will summon / a century at will, enter / and build my house in it. That is why / your children and your wives all share my board, the table / serving forefather and grandson: the future is decided now.

As read by Arseni Tarkovsky in Andrei Tarkovsky’s Mirror, 1975

** Currently #5 in the War of Films contest: CLAUDIA TOMAZ’S film about KAIDIE AND HER MEANING OF LIFE 3.0. VOTE NOW!** Vote by clicking on + sign at the top of video player. ** Don’t forget to vote for Episode 2, Run Kaidie Run, too!**

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CLOUD 9’S AND KAIDIE’S (OVERLAPPING) TRAVELOGUES

CLAUDIA TOMAZ’S TRAVELOGUE

On 15 June, Kaidie walked to Great Eastern Street to attend Bring Your Own Shorts I, organised by Christopher Birdman Dent, and had the privilege of watching filmmaker/artist/activist/writer/DJ/performance artist Claudia Tomaz’s poetically-layered film Travelogue (2008) in its entirety – sitting right next to the filmmaker! Travelogue is a beautiful 12-minute film-poem. In the place of dialogue, this is an intricate conversation, a delicate dance, between sound and images. Filmed by the filmmaker on seductive Super 8 as she journeyed from Portugal to Morocco, the film is a spellbinding. One of the most enchanting passages of the film is that of a montage of faces; the camera -and us- come face to face with the people, sometimes lingering on, other times looking away. (At this point, we think of great filmic moments that haunt: Chris Marker’s opening and closing sequences of Sans Soleil with 3 children on a road in Iceland; when the tiger speaks to the soldier in Apichatpong’s Tropical Malady, the opening dream sequence of Wild Strawberries and when fire fights rain in Mirror.)

My Dear Readers, do read about the film and watch and vote for it!

Left: frame grab from Claudia Tomaz's Travelogue, 2008. Right: Kaidie's travelogue 15 June 2010 from Kings Kross to Old Street.

KAIDIE’S TRAVELOGUE

Although we had promised Claudia to reach there early for a chat, we ended up being quite rudely late! That was because we got rather lost at the Old Street roundabout. Kaidie has a love-hate relationship with roundabouts, as she never fails to get disoriented at one, but we do love their Sisyphian loopiness (as usual). It is not as if we have never been to Great Eastern Street – but perhaps it is that we like getting lost (at the expense of our manners). This GPS track is slightly distorted, as we switched it off before we reached the venue, mistakenly believing  that we had ‘arrived’. You can look at this map, and other GPS tracks of Kaidie’s Life 1.0 travels on GPSies.

THE OVERLAPPING TRAVELOGUES OF KAIDIE AND CLAUDIA

Kaidie and Claudia Tomaz first met 5 March 2010 at the Late at Tate Britain’s Game Play, at the Blast Theory booth, but have been meeting frequently in Life 2.0. Multi-hyphenate Claudia has a wide body of works that look at technology, landscape, the city and most of all the people in them, in a manner that is sensitive, spirited and never distancing. Her ‘mutant paintings’, Transient Forms are most tactile. The very giving artist has contributed many times to Kaidie’s running blog, and recently made not one but two films about Kaidie as part of her LONDON GROUND series. In spite of our individual paths/journeys, Claudia and Kaidie always have meeting points that are meaningful and striking. Claudia and Kaidie certainly have many common grounds of interests and have been keen running partners, and will most certainly continue to be. Run Claudia Run!

Do continue to watch and vote for the 2 films by Claudia Tomaz about Kaidie! Episode 1 (12 minutes): Kaidie talks about her endeavour. WATCH AND VOTE for KAIDIE AND THE MEANING OF LIFE 3.0 NOW! Episode 2 (10 minutes): focuses on Kaidie’s running. WATCH AND VOTE for RUN KAIDIE RUN NOW!

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WATCH EPISODE 2 OF CLAUDIA TOMAZ’S FILM ABOUT KAIDIE! And COME ATTEND KAIDIE’S OTHER GIGS SUMMER-FALL 2010 (Nondon, Sao Paulo, Surrey, Singapore, Online)!

Episode 2 of a film by Kaidie’s running buddy, the wonderful Claudia Tomaz, is uploaded! WATCH AND VOTE for RUN KAIDIE RUN NOW! And if you haven’t already watched Episode 1, WATCH AND VOTE for KAIDIE AND THE MEANING OF LIFE 3.0 NOW! Thank you Claudia for the hard work! We feel sorry for Claudia for having to go through a couple of hours of footage of Kaidie’s yakking. And this is certainly not the last of collaborations between Kaidie and Claudia! Do support Claudia’s ongoing London Ground project!!

Left: Episode 1. Right: Episode 2. Spot the difference! In one of them, Kaidie yaks for 12 minutes. In the other, she yaks for 10. Kaidie is holding a (then-broken) Garmin Forerunner 405 which she is wearing for 1 year as part of a collaboration with Urbantick. This GPS gadget has been Kaidie's constant running buddy for the past 3 months. More details about this in the next posts!

And thank you all My Dear Readers/ Collaborators for writing in to advise us about places we could run to for a day or 2 away from Nondon. Some of you also wrote directly to Kaidie to share some fabulous hideouts. We respect your instruction to keep these places top secret! But if you (ie, everyone else except those who wrote to tell us about these secret hideouts) want to be tipped off about these places, do one or all of the following and we may consider giving you a hint or two: 1) send us an intense chocolate cake, 2) buy us a carton of lovely dry bubbly 3) tell us a place we can get authentic sashimi at affordable prices here in Nondon 4) share with us a lovely route to run in Nondon 5) Be Kaidie’s training buddy and run 27-35km with Kaidie as part of her training for her first Life 1.0 marathon (We are now up to 26.7km so far but alas, a marathon is 26.2 MILES, not km. The heat does not help with the physical and mental exhaustion, burning our soles/souls/sows. And, to rub in with t.m.i., at least two of our toenails are falling off)… If you find this repulsive (fallen toenails and tmis), don’t worry, we do too.

Left: venue of Blacked Out (near London Bridge station). Right: Clip by the groovy Singapore filmmaker Chew Tze Chuan of Kaidie's permanent public work in Singapore, as Kaidie cannot be there. THANK YOU Chew!!

The following is our itinerary for the next few months, in a few places. YOU ARE INVITED! Or please invite yourselves. Don’t be shy. It’s easier for us too… Nearer said dates of gigs please come back to this running blog of ours (and click on the category of itinerary and gigs) to check details. See you sooner/later.

UPCOMING ITINERARY (LONDON, BRAZIL, SURREY, SINGAPORE, ONLINE)

* 5 August, LONDON UK: Presentation about Kaidie’s travels all these lives in Dr Nick Grindle’s Art, Activity, Environment course, Slade Summer School.

* 21- 28 August, LONDON, UK: Blacked Out group show at Arch 897, Holyrood St, London SE1 2EL. Curated by Jennifer Hankin. Kaidie will be sharing a video projection, its London premiere. Private View: Thursday 19 August 18:30-21:30 hrs, WITH FREE BOOZE AND LIVE MUSIC! Invite yourself and your mates (if you have any?) on the evil Facebook. Or just come, but do wear something that befits the theme of lightness and dark. Why? Just because.

* 1 day trip away from Nondon! Yay! In a bid to travel light, we will NOT bring the memory trapper of a camera. But we will wear our Garmin to track our routes, and share that with you later. Currently we are giving each option a serious thinking through and have not decided where to go.

* 5-8 September LONDON, UK: DRHA 2010 conference (Digital Resources for Humanities and the Arts) Brunel University. Kaidie will be interviewed by a member of the audience, played by Kai Syng Tan, in A Rough guide to (The Meaning of A) Life 3.0: Author Slash Actor Slash Audience: A lecture performance, on Tuesday 7th September from 5.30-6.30pm AA109. Prominent figures like Stelarc and Steve Dixon will be present. Again, go ahead and invite yourself on the evil Facebook (This event is NOT free-of-charge to attend, however).

* September: Trip to Belfast?? We will bring the memory trapper.

* 19 September, SURREY, UK, and ONLINE: Kaidie runs her first ever Life 1.0 marathon on the historical Pilgrim’s Route, in the Farnham Pilgrim’s Marathon, Surrey, UK. Kaidie will be raising money for a charity, and you can follow Kaidie’s progress (or regress?) of her 42km race as she tweets segments from Chaucer’s Canterbury Tales ‘live’! Kaidie might run dressing up as a monk (thank you Duncan for your suggestion!), nun or horse, but we will have to watch the erratic bowel movement if the latter (unless of course, we do an impromptu Paula Radcliffe). As this is our first ever Life 1.0 marathon, there is always the possibility of things screwing up (perhaps more so than if we have done this before, though experience does not guarantee perfection, of course). So, if we do not see you again, it has been nice knowing you, see you in our next lives, same time, same place, etc etc.

* 7-11 October, SINGAPORE: Skype performance + exhibition of images and maps from Kaidie’s journey + film screening at ArtSingapore: The Contemporary Asian Art Fair. Curated by Meena Mylvaganam.

* 18-21 October SAO PAULO, BRAZIL: Soft Borders conference. Kaidie will be presenting a lecture-performance. Her paper will be published in a publication.

* November, LONDON, UK: PhD upgrade presentation, Slade School of Dine Art.

* 3-5 December, LONDON, UK: Performance at Sexuate Subjects: Politics, Poetics and Ethics, University College London, UK.

* December, INDIA: Curating a South East Asian Film programme at a Film Festival.

* Winter: ‘Live’ GPS-Twitter-Nondon run: a locative performance event with Urbantick.

Left: Kai Syng Tan impersonates Kaidie's audience at DRHA, London. Right: Kaidie's first Life 1.0 42km race in Surrey. Do sponsor!

ONGOING (ONLINE, SINGAPORE)

* ONLINE: 22 minute film about Kaidie by award-winning filmmaker CLAUDIA TOMAZ (Venice, Locarno):

– Episode 1 (12 minutes): Kaidie talks about this in general. WATCH AND VOTE for KAIDIE AND THE MEANING OF LIFE 3.0 NOW!

– Episode 2 (10 minutes): focuses on Kaidie’s running. WATCH AND VOTE for RUN KAIDIE RUN NOW!

* SINGAPORE: From 17 April 2010 until forever and ever (theoretically-speaking): Nightly from 19:29hours. Permanent public display: large video projections, The Amazing Neverending Underwater Adventures, at the Bras Basah Mass Rapid Transit station (subway) of the Circle Line. Commissioned by the Land Transport Authority, this is the only station with a video art work. The 29-minute video cycle with 29-chapters and 29 riddles stars Desyphus (Sisyphus+deceive+decipher, geddit?), a predecessor of 3rdlifeKaidie, who swims perpetually in the looped line. Music composition by Philip Tan. Mayo Martin of Today newspaper has named this his favourite artwork of the Circle Line. Wacky Singapore filmmaker Chew Tze Chuan has also uploaded a clip of the work in action. Kaidie will discuss this work in here in the weeks to come. Look out for it!

Left: Kaidie 'live' in Art Singapore via Skype. Right: Kaidie travels to Brazil for the first time in (any of) her life.

Images on this page are screenshots from respective sites.

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INTERMISSION: RUNNING AWAY FROM NONDON FOR A DAY OR TWO. WHERE TO? Part II.

In the previous post, Kaidie asked where she could go for a day or two, away from Nondon. As Chatwin says in his Anatomy of Restlessness, there exists an innate need in us to undertake ‘journeys of the mind and body’. Even while travelling, as we are, being on the journey from life to death, in Nondon. Reprinted here are some of the advice we have received so far. Thank you Susan, Miss Nim (a sponsor of Kaidie’s charity run in March 2010), Chuthatip aka Chutha Indigo aka The Good Pirate aka Fisherman, Aaron and Meena (who had previously helped to look for Kaidie when she was missing)! Kaidie’s running buddy, Claudia Tomaz, is also itching to have a little respite. So, do keep the advice coming in!

Reprinted from Facebook as of Sunday 25 July 2010.

* Walking around Woolwich and Greenwich for 3.5 hours this afternoon, Kaidie realised that Nondon is the one city she is not felt strange, or different, or is foreign (one of the reasons being simply that nearly every other person is strange, different and foreign, too), or out of place (what an evocative expression), or that she shouldn’t be. This is not necessarily the case of the 102 other cities in 32 countries that Kaidie has visited or lived in her previous lives, not even the one that she first arrived in. (All that said, one of the reasons why we are employing running as a navigational tactic for our 21st century reality is precisely because we do want to always feel foreign, strange, different and never settled down. We are never at home, but are out of our comfort zones at all times, and are instead invariably homesick, yearning for a ‘home’  – or an idea, or idealisation of a home. This ‘home’ is yet to be defined, and we resist and put off and postpone calling any place ‘home’, including Nondon).

** Do continue to watch and vote for CLAUDIA TOMAZ’s film, Kaidie and The Meaning of Life 3.0, Episode 1. Episode 2 coming up!

Some of Kaidie's desired next stops (in this or other lives): Iceland (where Marker filmed the '3 children on a road' in Sans Soleil), Norway (aha, a childish desire), Denmark (for Dreyer, and not for Von Trier), Brazil (this October?) (where Herzog crossed the Amazon with his impossible task), Morocco, Canada (for Gould), Algeria (for Camus), the Trans-Siberian (for ever and ever), the Taklimakan desert (ditto), Bhutan (the happiest place on earth), Dubai (one from one theme park to an other), Las Vegas (ditto) (and travels in hyperreality), Belfast (as a city of in-between), Bilbao, River Danube (bordering 10 countries - does it connect or separate them?), DMZ , Gaza (instead of viewing from the other side in Sderot), Xinjiang, Damascus (when Peter O'Toole took over her in Lean's epic that was watched 40 times in a previous life as a child), Mexico (for the amazing Tarahumara runners), Mount Hiei (for the mad marathon monks), Greenland (for Miss Smilla), the part of Russia where The Belovs was filmed, other parts of Finland (for the Leningrad cowboys and Lordi) and Suomenlinna again.

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INTERMISSION: RUNNING AWAY FROM NONDON FOR A DAY OR TWO. WHERE TO?

Hair 6 June 2010, split till Kaidie's end (uncut 12.12.2009 - 09.09.2012, after Tehching Hsieh)

In Life 1.0, Kaidie lives in Nondon. Yet, as we know, any peripetetic runner must deny herself allegiances, and must attach herself to the ethos of non-attachment. Instead, she traverses multiple terrains at the same time, double-triple-crossing, happily crisscrossing her eyes, splitending her hair and curling her toes while dipping curly fries in pig’s cheeks at the same time. So, while Kaidie always insists that she loves Nondon (and that Nondon loves her?), every so often, she must run away from her, to an other place in Life 1.0 that is non-Nondon, non-non-London. We love the city, but the task of the trans-dimensional runner is to resist liking any one place or thing too much. Also, it is Summer just now. Kaidie and her all-consuming love affair with Nondon could do with a little break.

Hence, our Dear Reader, where can Kaidie run away to, for just a day trip, this Summer? Somewhere nearby, but somewhere that looks/sounds/smells/feels different enough from our lovely Nondon. A different terrain to run, with a different scenary, that would give Kaidie a different gait and different rhythm of breathing, and to urge – ever so gently – that stubborn flu of 3 weeks to please leave her system, if not for good, for a little while.

Kaidie recalls a particularly invigorating Summer in a previous life, during which she spent a month in Suomenlinna, in Helsinki, Finland. The weather was extremely crisp, dry and sunny, the flat splendidly spacious and bright (Kaidie was retrospectively told that that was an especially brilliant Nordic Summer). Upon arrival, she was filled with a dread, assuming at once that as a lifelong urban denizen across many lifespans, the fortress island would be unbearable and boring. What arrogance. For, within a couple of days, Kaidie began a month-long routine of walking along the coasts for hours at length, as well as exploring the many tunnels. Although a tiny island, the place opened up the more Kaidie walked it, as if an endless Escher print full of surprising rabbit holes. She would return to the studio to type some notes with no particular intention. In the heady mixture of liqourice ice-cream, squeaky cheese, canons facing generations of enemies, picnics at sloping hills, dipping into the sea, rocking in ferries, blond hair, blue eyes, green eyes, blue-green eyes, and midnight suns, the seeds of Kaidie’s current life, and life story, and task, were planted.

This, of course, was before Kaidie became ‘Kaidie’.

Foam with (foamy) memory. What does it recall? What does it forget? What does it selectively memorise?

Travelling to Stockholm from Helsinki on the trashy Viking Line that Summer, Kaidie recalled Ingmar Bergman’s Summer With Monika (1953). (Kaidie’s favourite work of the great auteur, however, is the shattering Wild Strawberries). This summer, one of Kaidie’s virtual running buddies, James Odling-Smee, tells Kaidie about another Summer with Monika, by Roger McGough (Liverpool, 1967). That summer, Kaidie’s hair was slightly longer than it is now. After she left Suomenlinna, to return home, or ‘home’, she had much of it cut.

In the spirit of summer, with Monika, Monikas, in Stockholm, Suomenlinna, Liverpool, London, Non-London, Nondon, Non-Nondon, Non-non-London, 1953, 1967, 2006, 2010, we reprint McGough’s poem here.

Summer With Monika

They say the sun shone now and again
but it was probably cloudy with far too much rain.
They say the greatest train robbery in history took place,
probably students,
who else wants to steal a train.
They say cabinet ministers and osteopaths
were particularly vulgar about this time,
they say babies were born,
married couples made love,
often with each other
and people died, sometimes violently.
They say it was an average, ordinary, moderate,
run-of-the-mill, common-or-garden summer,
but it wasn’t.
For I locked a yellow door
and I threw away the key
and I spent summer with Monica
and Monica spent summer with me.
Unlike everybody else we made friends with the weather,
most days the sun called and sprawled all over the place,
or the wind blew in as breezily as ever
and ran its fingers through our hair.
But usually it was the moon that kept us company.
Some days we thought about the sea-side
and built sandcastles on the blankets
and paddled in the pillows
or swam in the sink,
and played with the shoals of dishes.
Other days we went for long walks around the table
And picnicked on the banks of the settee.
Or just sun-bathed lazily in front of the fire
Until the shilling set on the horizon.
We danced a lot that summer
bosa nova-ed by the bookcase,
or Madisoned instead,
Hulli-gullied by the oven,
or did the twist in bed.
At first we kept birds in a transistor box to sing for us,
but sadly they died,
we being too embraced in each other to feed them.
But it didn’t really matter
because we made love songs with our bodies.
I became the words and she put me to music.
They say it was just like any other summer,
but it wasn’t.
For we had love and each other and the moon for company,
when I spent summer with Monica
and Monica spent summer with me.

Ten milk bottles standing in the hall,
ten milk bottles up against the wall,
next door neighbour thinks we’re dead,
hasn’t heard a sound he said,
doesn’t know we’ve been in bed,
the ten whole days since we were wed.
No one knows and no one sees
we lovers doing as we please
but people stop and point at these
ten milk bottles a-turning into cheese.
Ten milk bottles standing day and night,
ten different thicknesses and different shades of white.
Persistent carol singers without a note to utter
silent carol singers,
a-turning into butter.
Now she’s run out of passion
and there’s not much left in me
so maybe we’ll get up and make a cup of tea.
then people can stop wondering what they’re waiting for
those ten milk bottles a queuing at our door.

I have lately learned to swim
and feel more at home in the ebb and flow
of your slim rhythmic tide
than in the fully dressed,
couldn’t care less
restless world outside.
You squeeze my hand and cry a little
You cannot comprehend the raggle taggle of living
and think it unfair that death
should be the only one
who knows what he’s doing.
You are afraid of the big bad dark
which loiters in our room
the night it prowls about the yard
the wind howls in distress
The Tom-moon peeps through the window
waiting for the table to undress.
It will soon be tomorrow
there’s nothing to fear
You whisper,
‘ever leave me?’
and put your tongue in my ear.
Sssshhhhh…….
don’t open it,
it can only be
the enemy.
____________

Said I trusted you, spoke too soon
heard of your affair with the man in the moon,
You say that it’s all over, then if you’re right
why does he call at the house every night.

Once I paid the piper and called the tune,
but one afternoon returning home early from the office
I found you in bed with the piper.
You call the last waltz
and now I dance sadly out of your life.

Monica who’s been eating my porridge
while I’ve been away?
My Quaker oats are nearly gone, what have you got to say?
Someone’s been at the whisky,
taken the jaguar keys
and Monica another thing
who’s trousers are these.
I love and trust you darling
can’t really believe you’d flirt
but there’s a strange man under the table
wearing only a shirt.
There’s someone in the bathroom,
someone behind the door,
the house is full of sexy men,
Monica,
Don’t you love me anymore?

You are a woman of many faces
and the one that suits you best I fear
is the one you wear when I’m not here,
for when you wear your marriage face
boredom lounges round the place

Your finger sadly has a familiar ring about it.

Last night was your night out
and just before you went
you put your scowls in a tumbler
half filled with Sterodent
so they’d keep nice and fresh for me.

Monica,
the tea things are taking over,
the cups are as big as bubble cars
they throttle round the room,
the tin-openers skate on the greasy plates
by the light of the silvery moon.
The biscuits are having a party
they’re necking in our bread bin,
that’s jazz you hear in the salt cellars
but they don’t let non-members in.
The egg spoons had our eggs for breakfast,
the sauce bottle’s asleep in our bed,
I overheard the knives and forks
it won’t be long, they said
it won’t be long, they said,
and it wasn’t.

It all started yesterday evening
as I was helping the potatoes off with their jackets
I heard you making a date with the kettle,
I distinctly heard you making a date with the kettle,
my kettle.
Then at midnight,
In the half light,
When I was polishing the blue speckles in a famous soap powder,
I saw you fondling the frying-pan,
I distinctly saw you fondling the frying-pan,
My frying-pan.
Finally at mid-dawn,
In the half light
While waiting in the cool shadows beneath the sink,
I saw you making love with the gas cooker,
I distinctly saw you making love with the gas cooker,
My gas cooker.
My mistake was to leap upon you crying,
Monica, spare the saucers.
For now I’m alone,
you having left me for someone with a bigger kitchen.

In, October, when winter the lodger the sod,
came a-knocking at our door,
I set in a store of biscuits and whisky
you filled the hot-water bottle with tears
and we went to bed until spring.
In April we arose,
warm and smelling of morning,
we kissed the sleep from each others eyes,
and went out into the world,
and now summers here again regular as the rent man,
but our lives are now more ordered, more arranged.
The kissing, wily, carefree times are changed.
We no longer stroll along the beaches of the bed,
or snuggle in the long grass of the carpets,
the room no longer a world for make believing in
but a ceiling and four walls that are for living in.
We no longer eat our dinner holding hands
or neck in the back stalls of the television
the room no longer a place for hide and seeking in
but a container that we use for eat and sleeping in.
Our love has become as comfortable
as the jeans you lounge about in
as my old green coat
as necessary as the change you get from the milkman
for a ten bob note.
Our love has become as nice as a cup of tea in bed,
as simple as something the baby said.
Monica, the sky is blue, the leaves are green,
The birds are singing, the bells are ringing,
For me and my gal.
The suns as big as an ice cream factory,
the corns as high as an elephants eye
could go on for hours about the lovely weather
we are having,
but Monica,
they don’t make summers like they used to.
– Roger McGough

** Do continue to watch and vote for CLAUDIA TOMAZ‘s film, Kaidie and The Meaning of Life 3.0, Episode 1. Episode 2 coming up. **

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Kaidie goes ON, and ON, and ON… for 12 minutes in CLAUDIA TOMAZ’S London Ground film ‘KAIDIE AND THE MEANING OF LIFE 3.0′ EPISODE 1. WATCH and VOTE NOW!

Claudia at work filming Kaidie at work. Other images are screenshots of related websites (see links below).

Multiple-award-winning filmmaker CLAUDIA TOMAZ (Locarno!! Venice!!!!!!!!!!!!) has made a film about Kaidie. This is Episode 1 of 2, in which Kaidie talks about her Rough Guide To The Meaning Of Life 3.0: Kaidie’s 1000-day Trans-dimensional Run 12.12.02009 – 09.09.2012.  And talks. And talks. AND talks. For ALL 12 minutes. YOU HAVE BEEN WARNED! Episode 2 coming soon! (EVEN) More yakking!! Take a look at the film and do vote for it! The music that you can hear is composed by award-winning PHILIP TAN (Animal Farm, National Day Parade 2008, Football! Football! 2010). The film was shot 24 June 2010, at the Slade Centre of Research of the Slade School of Dine Art, Nondon, when Kaidie was installing her meta-map wall installation.

You, My Dear Reader, are not unfamiliar with Claudia, a filmmaker-artist-writer-performer-activist who also spins under the name Cloud 9. You have seen her contributions here, there, there too, there there too, as well as here, just to name a few! And there are many more in Life 2.0! Claudia is one of Kaidie’s most constant co-runners of this quest. Her thought-provoking feedback, insights and suggestions have pushed Kaidie  and her adventure in many exciting ways, making her otherwise silly journey worth travelling.

The Do It With Others (DIWO) ethos of this work also underlies Claudia’s LONDON GROUND series, of which the film on Kaidie is a part of. London Ground is a collection of films ‘made in collaboration with selected artists of different practices (music, film, art, activism) in London underGROUND 2010. The artists invited are not mainstream ones, but people with dreams and their feet on the ground,’ according to the artist.

Claudia’s methodology of (self-)distribution and exhibition also fully exploits the  Web 2.0 infrastructure. This is an exciting and new platform of ‘microfilmmaking’, in which filmmakers share their work online, in a sustainable system that bypasses middle bodies, and allows the artists to communicate directly with her audience. Every view and vote helps the filmmakers make their next films, and allow them to stay truly individual So please watch, and vote! (And please support [the good things about] Web 2.0!)

Have a peek into the multilayered world of Claudia! Read about the LONDON GROUND series! Take a look at the blog the Holon Film Lab! Take a look at notes related to the film on Kaidie! Have a look at the next chapters of cinema and see how you can contribute or make use of this system as well! Claudia tweets as well – follow her ‘live’! Check out Claudia’s work-in-progress (talk about multi-tasking)!! Look at notes about her previous book Mobile Narratives!

How did the 2 travellers meet? What does Kaidie make of some of Claudia’s work? Find out in the next posts!

Booked doublefaced: This week, Kaidie's Facebook profile picture is that shot by Claudia; guess who shot Claudia's picture?

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AFTER HER RE-ENCOUNTER WITH GRAYSON PERRY/CLAIRE, SICK KAIDIE HAS A NEAR-DEATH EXPERIENCE.

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A LIFE 2.0 RE-PRESENTATION OF A LIFE 1.0 SHOW THAT IS ENDING IN A FEW HOURS: Kaidie’s metamap exhibition #6.

Where do statues go after they die? Statues die when people stop looking at them (Chris Marker and Alain Resnais, 1953). Kaidie’s metamap is of a less resilient material than bronze, and, like Kaidie, has a prescribed lifespan. It begins dying this evening 17:00hrs, and from 11:00hrs tomorrow (after our morning run), we will remove the papers, tapes, blu tacks, glue dots, marker pen marks, other marks, tracks, traces, bits, pieces, things, remnants, et ceteras. We will paint over the walls and floors where we had been, and leave the space as we found it, as if we had never been there, clearing all paths, as if it had never known existence in the first place (good for it) (for its own good).

That things die, that they die from one dimension, that they do not last, that they are one-offs, that they are transient and are not foolishly forever, that they can live on  – if we so allow them to – in the realm of imagination, perhaps ever/even more animatedly, ferociously and zestfully, is a concept that we quite adore. (We – you, my Dear Readers, and us- have been there before,  when we paid a pilgrimage to Heidiland in a bid to visit the legendary Heidi, who was all but absent, and how we were relieved that she could not be found in Life 1.0, for it only strengthens her presence in our Life 2.0). We relish in the cruelty of this, as we adore how it allows us to train and celebrate the/our power of imagination.  (‘I’m wondering what this all means to you’, he asks. I am silent. ‘You are immaterial; you do not exist. In fact, you are already dead,’  I want to say, which to my mind is not negative, in our same Heidi-logic, but which would inevitably be taken to be otherwise. So I keep silent.)

The work dies from Life 1.0, our primary world, but/and migrates to / returns to / re-starts in Life 2.0, in the virtual and imaginary realm, and exists as if it has done all this while, independent of the one in the physical world.  One is not lesser than the other. To be pedantic, the Life 1.0 metamap in the exhibition ‘came from’  Life 2.0 in the ‘first place’, with the 120 maps and images created on the screen, and having previously only existed in Cyberspace. Already, even as it is alive, we are re-creating Life 2.0 re-presentations of it, in a parallel realm. The work is the same work in either lives, but the Life 1.0 ‘version’ also completely differs and is independent of the Life 2.0 one.  In fact, there is no ‘essential’ work. When we run restlessly between Life 1.0 and Life 2.0, we are re-creating the/a work again.

2nd row top left: photograph of Kaidie at work by fellow artist-exhibitor, Laura Malacart. Beside that is a sketch by Kaidie of the work, before she began. Middle: Kaidie, quite knackered by now, poses with fellow artists and exhibitors Deborah Padfield and Errol Francis at the end of the humid evening of the opening 25 June. in the next picture, Errol competes with Kaidie for Person With Most Number Of Countable and Accountable Teeth Award 2010. We are fighting neck to neck, shoulder to shoulder, and- of course we are expecting this- teeth to teeth, a tooth for a tooth, gum for gum. Who do you think should win? Bottom right: Pink poster Spillage indicates the title of the show. Bottom left: Kaidie’s hand-made wall text for her new hand-made wall-text-installation, 24 June 2010, 1 day before show opened. The masking tape on the wall were to be all licked up, of course. Kaidie’s Life 3.0 ecosystem tolerates no wastage (most of the time). Check out the ‘paper tippex’ on the right hand side of the wall text as well (since there is no undo button in Life 1.0).


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A QUICKYSNEAKYBLURRYMCFLURRY PREVIEW OF KAIDIE’S 120MAP-METAMAP: 25-30 JUNE EXHIBITION #3

Kaidie hard at work, at the Slade Centre of Research at Woburn Square, creating a metamap of 120 maps of her transdimensional run. Beware, however, of Kaidie's knife that she's holding on her hand - she might slash more than paper if you try to come too close. Keep a critical distance! In this show, there is NO multimedia, NO moving images, no cables and no technical cockups, only penknives, masking tape, gaffer tape, 120 pieces of A3 papers, one 25metre wooden creaky scary ladder that Kaidie has to climb up, one lower sturdier ladder, papercuts, marker pens, cups of foamy coffee (we were supposed to have quit coffee!?), plenty of dust-and-hair (curly, straight, long, short, thick, thin - ALL YIKES!) -collection on Kaidie's jeans as she kneels/prostrates reverently on the dirty floor before her wall, and other analogue goodoldfashioned cockups. Come see for yourself. Original photograph by Laura Malacart 19 June 2010 Nondon, UK.

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25-30 JUNE: KAIDIE SHARES A 14-METRE METAMAP OF 120 MAPS OF HER TRANSDIMENSIONAL RUN. Slade Centre of Research, Nondon #2

How would a map like this (created before Kaidie's birth in October 2009), be contextualised in Kaidie's wall-installation (June 2010)?

Private view: 25 June evening. Exhibition: 25-30 June. Location: Slade Research Centre Nondon WC1H UK. Opening hours: 9am – 5pm daily except Sunday. Kaidie exhibits her Multiple Mad Meandering Maps + Mandalas of her restless running across Life 1.0 (primary world), Life 2.0 (realm of imagination, Web 2.0 realities) and Life 3.0 (Web 3.0 AR+MR, hybrid reality). As we speak, Kaidie is creating a 14metre-wall-installation, a metamap of her maps of her intradimensional run. In this exhibition, there are 14 PhD and researchers on show with a wide-range of works including performance, sculpture, video installation and sound.

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25-30 JUNE: KAIDIE SHARES HER MEANDERINGMADMAPS + MANDALAS. Slade Centre of Research, Nondon #1

What: In this exhibition, there are 13 PhD and researchers on show with a wide-range of works including performance, sculpture, video installation and sound. Private view: 25 June evening. Exhibition: 25-30 June. Location: Slade Research Centre Nondon WC1H UK. Opening hours: 9am – 5pm daily except Sunday.

Kaidie exhibits her Multiple Mad Meandering Maps + Mandalas of her restless running across Life 1.0 (primary world), Life 2.0 (realm of imagination, Web 2.0 realities) and Life 3.0 (Web 3.0 AR+MR, hybrid reality). As we speak, Kaidie is creating a 14metre-wall-installation, a metamap of her maps of her intradimensional run. And there is NO multimedia in this new work, only goodoldfashion 2D ‘stuffs’. Can you believe that? Me neither. Well, come see for yourself. (We would have used the adjective ‘Magnificent’, in conjunction with the brilliant Magnificent Maps exhibition at the British Library, but that would not have been very Modest of Me, would it?)

See you around. Literally. Being all-rounded we can bounce ideas off each other. Jolly well.

May 2010: ever-expandable layers of reality -cum-running tracks

March 2010: an appropriation of the yin-yang symbol - or/and an appropriation of the pepsi logo.

December 2009: picture-perfect simple/simplistic venn diagramme of the in-between.

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GIVEN THAT THE PREVIOUS POST HAD BEEN EXCEEDINGLY VERBOSE, THIS ONE IS SILENT. KAIDIE’S ROUGH GUIDE TO THE EXOTIC FAR EAST #5: RIDLEY MARKET.

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WHAT DOES TIME MEAN FOR SOMEONE WHO EXISTS ONLY FOR 1000 DAYS? Urbantick interviews Kaidie.

Urbantick: How does time pass in relation to your life of 1000 days?

3rdlifekaidie: Kaidie is alive from 12.12.2009 to the last day of the London Olympics, 09.09.2012. (Do note that the dates form a pseudo-pallindrome of sorts!) As we speak, Kaidie is already 150 days-old, and has only 850 days or 216,000 minutes left. Having a clear knowledge of one’s duration Kaidie’s existence all the more intense and augmented. It is in living a death sentence that one is compelled to question what one’s priorities in life is. It is an extremely positive and focused experience, as Kaidie lives every minute to the fullest. Being a runner only accentuates this. Running echoes the speed at which technology is changing today. This technological rush and running both make Kaidie run out of breath. That said, she is not a sprinter. Hardly…

Urbantick: Your life is constrained to 1000 days. How does 1000 days feel?  The limitation probably is even more obvious compared to something that lasts longer. What do you measure the passage of your life against? You are talking about living life to the limit, experienceing it intense and running. Is there a slow and a fast time?

3rdlifekaidie: 1000 days is both tortuosly long and terribly short. What could be accomplished in 1000 days? For Kaidie, she has to find the Meaning of Life 3.0 (with)in/before time runs out. Is 1000 days long enough for that? Or is it too thinned out? Traveling around the world in 80 days seem like a ride of a lifetime; 800 or 8000 days is still not feel sufficient for one to heal the wound of a dead memory; 1 day is 1 too many to go cold turkey on an addiction/obsession/obscure object of desire; every minute of every single day is a new discovery, a new beginning for a baby. Running 42km for 5 hours seems a little preposterous; ‘hanging out’ with a loved one for the same duration seems too short, as one always yearns (futilely) to ‘spend the rest of one’s life’ with an other. Kaidie rejects any notion of eternity and permanence (if there is one thing that is remotely ‘forever’, it is the notion of changeableness). Instead, Kaidie plunges into the moment of the now/here, and lives like all tommorow’s parties (and funerals) are right now.

As Kaidie traverses between the real and virtual worlds, she measures her time against the calender in real life. Taking the cue from one of her favourite performance artists Teh-Ching Hsieh and his 1-year performances, Kaidie cannot cut her hair for 1000 days. Well, most of her hair. It would be rather unbecoming to appear excessively Neanderthal, would it not.

Urbantick: Is it important to be on time? Looking back, how have you come to this position and what is your background? What is you strongest time experience?

3rdlifekaidie: Of course it is important to be on time – especially given that Kaidie has such a short lifespan of all of 1000 days only. Not to add that it is incredibly rude to keep someone else waiting – unless one intends to offend the other party, in which case it works rather well. One of Kaidie’s stronger time experiences so far was when she took part in the 10km charity run for the Friends of Medecins Sans Frontieres. She split up the workload with her Facebook friend, Kailives, and managed to complete the race in half her usual time. Another instance was when she was advised by her reader to ‘look for love’ in her Life 3.0. Being so short of time, she went on a speeddating session. However, she found nothing. Maybe such things need more time? Perhaps she will learn in time to come.

Urbantick: The clock time is everywhere on planet earth different, how would you describe the current time of the planet globally? In a rather global sense, how would you define time?

3rdlifekaidie: Time is process, journey, running, goes on, does not stop, goes on in spite of, change, memory, experience, imagination, fantasy, learning, not learning, wounds, healing, not healing, life goes on, in spite of.

Urbantick: I always presumed the virtual world to be a replication of the real world. You are spending a lot of time in the virtual world. Can you explain what the terms ‘space and ‘time’ mean in life 2.0?  Are you using a specific definition of time in each of the worlds, and if so how do you translate it?

3rdlifekaidie: Where Kaidie is, in Life 3.0. Life 3.0 is the tactic of the dérive in the ma (in between) of Life 1.0 and Life 2.0. It occurs in a dimension in which space and time are ‘mutually responsive’, in a ‘chaotic, mixed condition’.

Typical of cultures that view life as cyclical and temporal, ma appears to be imprecise according to Western paradigms, adhering to the exasperating ‘oriental’ logic of ‘contradiction’.[ii] Ma, which refers to ‘an “interval” between two (or more) spatial or temporal things and events,[iii] departs from the Cartesian expression of space-time as a ‘homogeneous and infinite continuum’. That ma encapsulates in its meaning the notions of both time and space can be seen in compound terms such as time (jikan), and space (kuukan). Instead of being ‘abstracted as a regulated, homogenous flow’, time was believed to exist ‘only in relation to movements or spaces’[iv] in Japan. Noh actor Komparu Kunio admits the ambiguity and power alike of the single term ma:

Because it includes three meanings, time, space, and space-time, the word ma at first seems vague, but it is the multiplicity of meanings and at the same time the conciseness of the single word that makes ma a unique conceptual term, one without parallel in other languages.[v]

Cyberspace, one of the components of Life 2.0 in the discussion, is itself an unstable and still-untamed site. The ‘nonspace of the mind’ [vi] is a site of ‘consensual hallucination’. [vii]  It is also ‘the ether that lies inside and occupies the in-betweens of all the computers’[viii]. Superimposing the notion of dérive to that of ma as ‘space between’ [ix], ‘time between’[x] and space-time-between[xi] Life 1.0 and Life 2.0, Life 3.0 is the restless travelling in between space, travelling in between time, as well as travelling in between the space and time between space and time.

Urbantick: At work you run, well you are running all the time, how do you relate to time while you run? Is there a backup system if the timing fails?

3rdlifekaidie: Rather than a static condition, Life 3.0 is a verb of action, of restless running in between Life 1.0 (physical reality) and Life 2.0 (realm of imagination, and Web 2.0). Kaidie runs, albeit slowly, as her race is a marathon of her life journey. Any marathon is a test of one’s physical as well as mental stamina. In any long-distance run, there are ups and downs. Kaidie gets her fair share of ‘runner’s highs’. When this happens, time (and space) are not of any consequence. However, when Kaidie hits the walls, or runs with blisters and aches, time slows down, or even comes to a standstill. In times like these, there is nothing Kaidie can do except to plough through, run through the problem and face it head on, conquer it, learn from it, and then move on. And on.

This interview was conducted by UrbanTick/Fabian Neuhaus on email with Kaidie. It was first published on UrbanTick’s blog on 19 May 2010. In UrbanTick’s words: “In this interview series UrbanTick is looking closely at meaning and implications of time in everyday life situations. In the form of dialogs different aspects are explored, with the idea to highlight characteristics. The main interest is circling around the construction and implementation of different concepts of time between independent but related areas of activity, such as leisure and work, privat and public, reality and virtual.”

Fabian Neuhaus is a PhD researcher at the Centre for Advanced Spatial Analysis. His main research interests are temporal aspects of the urban environment and cyclical, repetitive temporal patterns specifically. He has been teaching at the University of Plymouth as well as the Bartlett School of Architecture. For his MSc in urban design at the Bartlett School of Architecture he was awarded a distinction. Fabian also received a MArch from FHNW Basel, Switzerland. He has worked with architecture and urban design practices, and universities, in Switzerland, Germany and the UK.

[i] Isozaki, Arata, and Ken Tadashi Oshima, Arata Isozaki (Phaidon Press, 2009), p. 157.

[ii]Daniel Charles, ‘Bringing The Ryoan-Ji To The Screen’, Taka Iimura homepage <http://www.takaiimura.com/review/DC.html>, accessed 21 November 2009.

[iii] Pilgrim, Richard B., ‘Intervals (“Ma”) in Space and Time: Foundations for a Religio-Aesthetic Paradigm in Japan.’ History of Religions 25, no. 3, February 1986, p. 255.

[iv] Isozaki and Oshima, 157.

[v] Isozaki and Oshima, p. 158

[vi] William Gibson, Neuromancer, new edition, Voyager, 1995.

[vii] Gibson.

[viii]  Sardar Z. & Ravetz J.R., 1995. From Martin Dodge, ‘Cybergeography’, Environment and Planning B: Planning and Design 28(1) 1-2, 2001 <http://www.envplan.com/abstract.cgi?id=b2801ed>, accessed 4 January 2010.

[ix] Pilgrim, p. 255.

[x] Pilgrim, p. 255.

[xi] Isozaki and Oshima, p. 158

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DOCUMENTATION OF 3.0, 2.0, 1.0! READY, GET SET, GO! RUN FOR (Y)OUR LIVES! 22 March 2010 performance.

8 minute lecture-performance by Kailives, standing in for Kaidie, on the eve of Kaidie’s 100th day birthday and her continued dis-location. Kailives discusses the philosophy of Life 3.0, and the gap between theory (of Life 3.0) and (Kaidie’s) practice (of her semblance of life). Unbeknownst to Kailives, however, towards the end of the performance, Kaidie makes a brief appearance – right behind Kailives back, on screen!

The performance was filmed by the wonderful performance artist/filmmaker Jayne Parker. Off The Shelf, a 1-night word-image event, was curated by Sharon Morris and Jon Thomson, at the Slade School of Fine Art, University College London, UK, 22 March 2010, Monday. Kaidie’s segment came on at around 2130hrs.

**There was a gap in documentation towards the end of the performance due to tape change**

** There will be an upcoming gig at the end of June in the city of Nondon! For updates, watch this space! For gigs that Kaidie has performed so far, watch that space! **

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YOU ARE HERE (BUT I AM THERE). KAIDIE’S ROUGH GUIDE TO THE EXOTIC FAR EAST #2: ALONG THE CANAL.

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KAIDIE’S SLIGHT DETOUR/DIVERSION/REALITY CHECK: ON HERZOG’S ENIGMA OF KASPER HAUSER (Catch on BBC iplayer now!)

Werner Herzog at the San Francisco International Film Festival, 1999. Frame grab from final chapter of Chlorine Addiction by Kai Syng Tan (2000)

If it wasn’t for this (this tedious 1000-day hell of an ‘epic’ endeavour, of Kaidie’s quixotic running across dimensions in search of the so-called ‘Meaning of Life 3.0’), we could possibly have conducted our research on Werner Herzog, as we had contemplated at some moments of our previous lives. How nice now, in this life, to revisit his The Enigma of Kasper Hauser (1974).

The classic Herzogian leitmotifs are there: beasts (fainting chicken, kneeling camel), outcasts/freaks (myth of tiny king with tiny kingdom, each king tinier than before; Kasper Hauser himself); freak shows (including the film we are watching); dreamscapes (ditto, and Kasper’s flickering Super-8 Sahara dreams);  hero/anti-hero (Kasper/Bruno S.); character/actor, acting/not acting (Kasper/Bruno S.); ‘realism’ vs self-mythologisation (including Herzog’s own); the clash of cultures/civilisations (Kasper scrutinised again and again as an Other; “Mother, I have been so cut off from the world”, says Kasper, holding her baby); an assault on ourselves (the Other or the ‘idiot-savant’/savage being more enlightened and more civilised than us); power play and cruelty (boys at chicken and Kasper); moments of tenderness (Kasper playing with black crow, recalling the iconic image of Klaus Kinski playing with monkey in the final scene of Fitzcarraldo); man vs nature (“Let the apples sleep, they are tired.”); man and art (“The music feels strong in my heart. All of a sudden I feel old. Why can’t I play the piano like I breathe?”); godlessness and the absence of redemption (the subtitle, Every Man for Himself, and God Against All of Them, says it all.)

Controversial and problematic as his work and methodologies were/are, Herzog always haunts and provokes, in a manner that is austere, Brechtian and  unsentimental as it is acutely Romantic.

In a previous life, I saw the filmmaker speak at the San Francisco International Film Festival. (I had rushed back to the cinema from my tour around San Francisco of Hitchcock’s film locations of Vertigo – the very same tour that Chris Marker took, I am told, to film the passage that pays homage to Vertigo/Madaleine’s ghost, in his Sans Soleil). As usual, Herzog spoke contemplatively, measuredly, in flawless English with his unmistakably charming accent (but he offered an obligatory ‘apology’ for his ‘bad English’ at the beginning of his speech), punctuated with calculated pauses (Is that Herzog narrating the final dream sequence in Kasper?)

Herzog reminds us of many things, and reminds Kaidie the need to keep running and not lose her vision, flickering and faint as they may be at times. (She is short-sighted after all. Time to clean her mouldy glasses.)

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