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thanks Rebekah
reminder to self (and other)
Sketch book research
Script Draft
Ive been writing the new draft of the script which currently is aweful but slowly is coming togther. I definitely think writing in an episodic way will let me get a better idea of the pacing and how to do the story.
anyway have a read
LOST FRUIT
Act 1
Scene 1
Sepp : Hey…looks like it’s just us.
June : Looks like it (giggles)
Sepp : Did you enjoy the ceremony?
June : Hahha fuck no… these traditional meetings feel empty to me especially as they never include me.
Sepp : Yeah…I know…they are wrong for that…you should definitely be front and center
June : front and center? I don’t think I want to be verified to that extent.
Sepp : well Maybe It would make me pay attention a little more …closely
June: ….oh and why would that make you pay a little more attention
Their bodies are closer now, almost touching. Almost breathing on each other.
The sky cracks in half as the long forgotten voice of a lost GOD returns to earth.
The air began to resonate as it shifted through the atmosphere of carbon nitrogen and oxygen. The make up of life changed unbeknownst to anyone.
June : What the fuck was that?
Sepp : (covering her head) Jesus sounds like the whole sky exploded.
June is already running to a window. There are a lot of murmurs in the bar.
June looks out the window but sees nothing
A few others who were in the room have also run to the window.
No one says anything as they stare transfixed outside.
Sepp : (after catching up) Do you see anything?
Sepp comes close to them and holds their arm. It’s the first time they have touched all evening
June : (wrapping her arm under the waist of Sepp) No…but I feel like…(they look at Sepp and notice the anxiety on their face)…Hey are you ok?
The air was charged. Like a thick soup of static. As the voice wrapped itself around the planet and began to touch the ground the static rose on the skin of their backs.
June’s hair was floating as though she was submerged in water.
Everyone looked at her but their hair remained normal.
A buzzing sound could faity be heard.
June : It feels like I’m surrounded by electricity (they stop and listen)…can you..(they listen again)…do you hear something?
The buzzing sound gets louder.
Sepp : Let’s get away from the window.
The buzzing sound can be heard by everyone now. Although it had begun as an auditory experience, its frequency had begun to resonate within their bodies.
June sinks to the floor feeling a wave of nausea as their organs shake with the sound
June : Sepp I…I…
A pulse shook through the ground.
Sepp falls to the ground beside june.
The two bury their heads into each other’s shoulders.
They scream in unison as they expect the building they are in to fall in on them.
And then suddenly
everything stops
June: Are you still here…
Sepp: I’m with you…im with you
Their heads rise to meet each others gaze.
They are only an inch apart
The other members in the room are all standing against the walls as if the pulse had not been felt by them.
Their gaze fixed on the two holding on to each other
They watch them in silence.
June : Sepp…
Sepp leans in whispering
Sepp : Don’t leave me tonight
kissing June.
//////////////////////////
//////////////////////////
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Act 1
Scene 2
A radio is playing in a bedroom with june asleep in bed.
Whats more sensible religion or atheism
Radio : ….and surely No one was able to sleep in such a painfully traumatic freak weather event, a phase of extraordinary awe full weather.
Call in person: I called the next morning as I was due to go into surgery and now I’ve been told I need to rebook, and rebook means I loose 100 percent of the amount we paid for…
Radio Host: …but you surely know that they don’t want to operate on you if this could happen again…it is disgusting however that you have to repay for…
Call in person : My surgery is life saving…there is no other date…I don’t have that time….unless i go to a private surgery…which is what we have to do now and that’s going to cost me everything, I want to go to small claims….
Radio : look if you went to the hearing I am not sure you would win I’m afraid and that’s all the time we have for you… our next caller says they have some background info into this freak weather….Hi Lady Da
Call in perso :…Don’t say it…not you…not yet not every…
Radio Host :…okay
Lady Da : The Fabric of The earth has changed
Radio Host : oh hear we go
Lady Da: from small wood to the largest group It will grow and those that don’t grow with it….wont grow at all
Radio Host : ok….so Sometime we get people like you and I am half tourn if we give you air time or not…i mean the rating love…..
Sepp walks into the room fully dressed
Sepp : Hey wake up….we overslept
June : mmmmmmmmhmm…
Sepp : Get up please I need to go now
June : Just go without me….i leave later
Sepp : No I don’t want to do that June
June : Ugh why not….
Sepp : Did you forget my name….
June : (June blushed) …There were a lot of names at the ceremony…and I was talking more to your other ….lips…
Sepp : Oh….Shut up (giggle) look we have to go right now…I’m sorry you need to leave
June : What tine is it
Sepp : Go
June : (annoyed) What? Ok why are your being so rude…what’s going on.
Your suddenly asking me to leave out of no where…
Sepp : I can explain….
June : wait…hold up…explain…oh no
June gets up and starts to put on clothes
Sepp : look we can talk late..
June : fuck you
Sepp : its not THAT…ITS not June look at e
June : It’s not WHAT?….It’s fine you just wanted to try out….i get it…come one June why did you think this bitch would even be
Sepp looks outside the window
Sepp looks through the window
June : If you wanted to try it why did you have to do it with ne…COME ON JUNE
Sepp : June…
June : I want you to listen…This is
Sepp opens the curtains
The vision of a inverted atmosphere meets them
June : HOLY FUCK…..
Sepp : Do you feel that?
June : That pull?
Sepp : What…No…It’s like a
June : WHy is the sun….Black
The door slams shut and footsteps approach the door
AODEN: SEPP! HAVE YOU SEEN THE…..
The door is swung open
He stairs at them
AOEDEN: ..sky…
/////////////////////////////////////////////////////////////////////////////////////////////////////??/?/////////
Act 1
Scene 3
June is on their way to the bus stop. It’s busy, everyone is outside. All work and schools have been shut due to the dangerous weather.
June is on the phone with a cordless headset
It’s very early
It calls and first goes to voice mail
June : Ah fuck come o pick up
Calls again.
No one picks up.
June : Alone again…what the fuck did you expects…you deserve
The phone rings
June : hello
Pussydon (through the phone): …hey are you ok…its 5 in the morning…
June : its an emergency…
Pussydon :…ummm….What do you neeed?
June : I mean…ok there are two
Pussydon : Bitch you know Ive just gotten up and the only emergency I can think is about you late night date with the Lady from the ceremony
June : Have you looked outside?
Pussydon : Don’t hold out on me with this mess…I need to
June : Just open the window…
Pussydon : Ok, If i do it slow enough maybe you’ll be able to tell me what happened with whoever she was
June : I…It was bad…
Pussydon:…
June: She…I dont know…she was just…using me
Pussydon: sooo… it was a one night stand?
June: Yeah….until her man came home
Pussydon : What….in the act? Oh my god
June: No no. In the morning I mean look at the time its fucking 9 am…he came home because of the whats goin on…i mean BABE LOOK OUT SIDE
Pussydon: Okay okay..but are you ok?
June: Im…ok…I just feel that this will always happen like whenever i think a girl is really interested something is always fucked up…im so tired of being alone…like are we
Pussydon: Holy fuck…JUNE what happened?
June: What im telling you….
Pussydon: THE SUN IS BLACK!
June: Oh….yes I told you…
Pussydon: …its true…(overlapping)
June:…this happened last night you didnt feel the shake?…and wait whats true
Pussydon: COme over….now
June: I am gonna go home I need to call my mum
Pussydon: I need you to come here
June: Why?
Pussydon: Look when you come illl explain
->go home
->go to Pussydon’s
Act 1
Scene 4
->go to Pussydons
X
On the way to Pussydons june listens to the ending of the radio show
What is more sensible- a show that discusses the reason why one way of living may be more sensible then another.
The current discussion is weather it is healthier to believe in spiritual significance or if logical thinking is a healthy approach to unexplained supernatural phenomenon
Around 2 mind into it they leave the bus and take off their head phones and walk towards Pussydons house
They turn the corners and walk towards
The house
There is a bunch of people outside of the house of pussydon
June takes her headphones off
The crowd are visibility animated and pointing down the road
Following their finger it seems as though they were pinting to wards the trees in the distance
The trees linger in the distance staring back
A light glow can be seen in the forest
As though a fire burnt in the branches
June reaches the group
June : Hey…hey…what’s going on?
Random people : we are going now….you know….you know…ok
They leave
Pussydon watches them leave eyes locked on
Something else had been left in their place that seems so much bigger
June: what’s that all about…
Pussydon: We gotta go…walk and talk
June:…what’s up girl
Pussydon: I mean I don’t know how to say it…something is in the forest
June: Something….
Pussydon: soemthing that wasn’t there but is now
June: You’re being way too cryptic
Act 2
Scene 1
Scene starts with a radio show presenting the facts of the day
The sound of a scene of commotion can be heard over the commentator who are processing the scene. Sirens and shouts often pierce the reporters voice. They are having a hard time dealing with it and keeping a composure (when an Abuser makes you act as though nothing is happening)
Reporter: I am reporting from the edge of the forest which id being coordined off as I speak. (Hard swallow) For the good of us…for our good I am told to say that…everything is fine. Some of my early panicked news reports were my fault…its my fault…i am sorry….sorry…illl do better… (muffles)
It’s believed that there could be some form of contaminate in within the forest. Something that wasn’t there before, somethings that should not be there….
My co-star REVEN Gnorw will report from the helicopter. Hi REVEN…what are you skiing
The loud sound of the helicopter fights with the reporter
Raven : Hey all, looking from above we have a visual on something obscured by the trees. It’s glowing its…oh god I wish you could explain this to me…they are slowly cutting away the branches and….revealing more of it and….its….
Cut off
///////////////////////////////////////////////////s
Scene 2
June and Pussydon are Quarentined in a quickly put together inflatable quarantine building
There is a feeling of contentment as there is no communication about what’s going on.
A person wearing a hazmat suit is holding out Some sort of throat thermometer
June :…and how much…..
Hazmat: open your mouth please
June : erm ok…Can you tell me what were doing here we need to
Hazmat:…can I just jump in for a second…your literally the last person I have to swab before I get out of here…just let me get this done
June:….really nigga?
Hazmat: Just open your mouth please
June: I don’t have to do anything you tell me (she clearly shaken and reminded of past events)
Pussydon: She’s not gonna do it…we aren’t here for this
Hazmat: My job is to keep you alive to make sure
June: Alive?! What the fuck are going to die?
Pussydon : not in here like this
Hazmat: No no
Pussydon: Do me….keep me alive
Hazmat: What…you’ve been done..
June: wait you got it don
Pussydon: it’s mandatory if you need to piss
Hazmat: Do you want me to find an alternative way to….
Junes hair slowly begins to stand up
Pussydon
Hazmat suit does not notice
Disappearing forests
IDL TIFF file 
IDL TIFF file
How can a forest disappear without any trees being cut down? Here are two images showing the same region, the Uinatas mountain range, that show how something can disappear in an instance in satellite-assisted visualisations.
Researchers show that 6% of global forests – equivalent to the size of China – disappear when you define a forest by 10% tree cover instead of 30%. Tree cover describes the density of trees in an area and is used to produce forest/non-forest maps which the researchers say are causing issues.
I started looking at forests because the Serpekov-15 bunker is an area of Russian forest, and this finding relates to my interest in the discrepancies within computer-assisted, data-driven vision. From one perspective, there is a forest. From another, there isn’t.
We might be physically present in that forest and yet it wouldn’t exist.
https://earthobservatory.nasa.gov/images/86986/is-that-a-forest-that-depends-on-how-you-define-it
https://earthobservatory.nasa.gov/images/87176/when-a-definition-makes-a-forest-disappear
Clouds and control
This week I’ve been experimenting with layering up cloud imagery and the control dashboards used within missile control centres.
I’d been thinking about the false premise that more data guarantees more clarity, something that James Bridle talks about in his book New Dark Age. It’s a premise often used to bolster the perpetuation of surveillance technologies. But as Bridle alludes to, more data also means greater complexity and increased potential for confusion and comprehension. It is an uneasy paradox that destabilises the idea that more data enables us to see more clearly, when the reality is more cloudiness.
We have likely heard or experienced the temptations of the ‘big red button’ – do not press, urging us to do the opposite. But I’ve also been thinking that even the existence of a button sets the stage for the following events. It is there so the temptation is to use it (this is one of the ongoing arguments against the likes of Trident). So my experiments this week also looked at the aesthetics of disappearing dashboard controls, blurring into this clouded vision.
The images of dashboards are released under a Creative Commons license by photographer Todd Lapin and show the control panels within SF-88, a former Nike missile base in the Marin Headlands, US. Nike missiles were anti-aircraft missiles often equipped with nuclear weapons between the 1950s and 1970s during the Cold War. Here is a link to the Creative Commons license: https://creativecommons.org/licenses/by-nc/2.0/
The cloud videos are from a dataset created by the Multimodal Vision Research Laboratory (credit below) and also feature videos collected by Martin Setvak.
Cloud dataset credits: Jacobs N, Abrams A, Pless R. 2013. Two Cloud-Based Cues for Estimating Scene Structure and Camera Calibration. IEEE Transactions on Pattern Analysis and Machine Intelligence (PAMI) 35:2526–2538. DOI: 10.1109/TPAMI.2013.55, and Jacobs N, Bies B, Pless R. 2010. Using Cloud Shadows to Infer Scene Structure and Camera Calibration. In: IEEE Conference on Computer Vision and Pattern Recognition (CVPR). 1102–1109. DOI: 10.1109/CVPR.2010.5540093.
i can flow with the feeling of the water
this work is a quick sketch >
it’s a rough work based on recent research >
< it also uses previous studies
the footage is taken from one mountain spring in the Harz >
suddenly any place where the water flows is a place I can imbibe with a sense of home/belonging >
bodies of water as liminal spots of belonging >
this work draws its title from lyrics in Mark of my Departure >
it is meant tobe funny >
video description: set to a classic Lollywood tune this video juxtaposes different images of flowing water in different shaped frames. The frames are sometimes overlapping, sometimes slowly elongating and are synchronised to reflect moments in the musical journey. The water is flowing from a small stream across grey-brown rocks flanked by some greenery and soft moss. The water is clear and the flow is strong.
As the beat drops and the tabla comes into full swing, two circular images are seen rotating on the screen. The two images are in the same style and both created in the same way. On the left is an image of my grandfather, reading a newspaper, looking away from the camera. His image is framed by a circular photograph of a chopped tree trunk. Using the same method, the image on the right has the chopped tree trunk frame with an image of my father and his brothers in it, all sporting the wild 1970s style of facial and head hair. The two images rotate continuously in the style of old vinyl before slowly fading out.
the tabla and dislocation pt. 3
more studies in chopping the tabla
these are my two grandfathers surveying each other
my grandmother and her best friend
MADE THE SYAHI
Using the image of the chopped down tree stumps, I fashioned the syahi for these tabla’d images, making the symbol of dislocation the central point of attention. Reversing the process from the previous studies, trying to be more direct in the tabla reference and combing through the family pictures. This process has reminded me that so much of this work is about building an archive for/of the family that reconnects the ancestral lineage severed by dislocation.
OKO: the eye and Molniya orbits
It was the OKO satellites connected with the Soviet M-10 supercomputer that mistakenly identified sunlight on clouds as the movement of nuclear missiles (OKO being the Russian word for ‘eye’). They detect infrared radiation which is then used to interpret the trajectory of missiles from the heat of their exhausts.
The OKO satellites moved on elliptical Molniya orbits of which there are some nice visualisations on the Wiki page.
Molniya translates as Lightening in Russian and this type of orbit has been used for telecommunications, TV broadcasting, and weather monitoring as well as in the military early warning systems I’m looking at.
Inside Serpukhov-15
I’ve been looking for photos that show the inside of the Serpukhov-15 bunker. This is the only image I have come across so far and it’s unverified.
watching: lollywood, editing, Noor Jehan
can’t stop watching/listening to these tunes >
Noor Jehan is an icon > singer of over 10,000 recorded songs > first female Pakistani film director in 1951 > affectionately known as the Queen of Melody >
Below you can hear Noor Jehan singing ‘Lal meri pat’ >
Lal meri Pat is the original version of the song that venerates the saint Lal Shahbaz Qalander > it brings the research out from the mystic 12th century reaches > out also from the Afro-South Asian connections > straight to Lollywood >
Pakistan’s film industry set up in Lahore has its own heroes and history > if interested > this podcast has been a joy to listen to >
I’ve been blaring these songs in my room and in my headphones on the go >
I’ve been paying attention to the way these videos are shot and edited >
I’ve enjoyed the sharp, deliberate, on-beat chopping >
the tabla and dislocation pt. 2
studies in chopping up the tabla
studies in chopping up the tabla
these studies are produced by pushing family photos into images of chopped trees < these trees are located in the Harz Mountains in Germany where the bark beetle has destroyed local forests < amongst the decay and disease wild flowers and grasses < growback >
< the bark beetle is a kind of predatory invader to the forest < “nature” has its own forms of violent destruction < reoccupation of habitat < re-inscription of its role < colonialism >
< normally a tree would be able to ward off the beetle by producing its own resin < but increased heat and drought have weakened this defense < many trees are dying < many trees are being chopped down < chopping >
< roots in the ground remain as the wood is chopped and moved elsewhere> < chopping >
< the stump is a sign of this dislocation < a mark of my departure >
< the stump becomes the image of the tabla face < except it misses the syahi < the syahi is the blackened tuning paste in the center of the drum < the syahi is the pupil of the eye > < in the iris >
< in the iris < my father and his brothers < my grandfather alone < the generational split that I never knew < their relationship with the looking lens < the brothers facing the eye of the camera < the father lost in his work < neither looking at each other < both brothers and father >
< in my eyes >
< in my eyes < as I walk>
< at the rhythm and pace of a tabla>
< through the dying forest < and mystifying growback >
A living God.
A 6:00min Cut of a 1hr performance
Alt text: A Black body covered in black paint.
A God realised. It was meditation to see the transgender God in space/reality. This is the beginning, where I create rituals for its appearance and movement in space. The black paint represents the Universe, a body that holds the planets and the stars and commands space-time. I understand my body as an integral part of this experience. I am interested in finding out: Am I in a trance as a vessel? How do I create transformation for other transgender bodies? How do I open myself to this present moment? I want to be consumed.
The God is nameless at this point; however, Trumu Fetish is the title for the experience of veneration.
A song by E B U. Listen to this while watching. I have added the lyrics too.
Take me back To the silky black The silky black of liquid sap Slate and stone I feel at home With space to roam This feels like home Solace on a hill Stones standing still Standing proud Out of the ground Quietly Watching me Comforting Company So take me back To the silky black Take me back To the silky black Happy to be bound By the embrace Of homeland Written By - E B U
Related artworks: OKOgame by Nadya Suvorova
I came across an interactive digital work called OKOgame that uses NASA satellite imagery to form an audio-visual experience triggered by mouse clicks. It revolves around a target-like centre which splits into rings that you can control with your mouse. Working like a puzzle, the aim is to get them to fit seamlessly together revealing the original satellite image. There are various levels, each becoming more complicated with an increasing number of moving parts. The soundtrack is recordings taken from within space shuttles.
Virilio’s Bunker Archaeology: reflections Part 2
This is the second part of my reflections on Virilio’s Bunker Archaeology and which sections are resonating with my research.
He writes about the materiality of concrete and how a poured substance can create this sense of claustrophobia and imprisonment:
“It is the coherence of the material itself that must assume this role: the centre of gravity replaces the foundation. In concrete casting, there are no more intervals, joints, everything is compact; the uninterrupted pouring avoids to the utmost the repairs that would weaken the general cohesion of the work. (p47).
‘Their grey cement relief was silent witness to a warlike climate’ (p12).
Although the bunkers themselves are solidly anchored into position, unable to move and or be impacted by events on the ground, Virilio knows that it’s the speed of the things that they are controlling that is at the core of their power. He focuses on the trajectory of weapons, how quickly they are able to move, and the battle for speed.
‘At the heart of combat’… “a new infrastructural-vehicular system always revolutionizes a society in overthrowing both its sense of material and its sense of social relationship” (p19).
It seems for him that it’s the speed of trajectory that is crucial. And related to this is the miniaturisation of space, of making distances feel shorter and easier to travel across. It ties into the omniscient, all-seeing systems of satellite observations, of mapping technologies, and geospatial tools of control.
“A homogenizing process is under way in the contemporary military structure, even inside the three arms specifications: ground, sea, and air is diminishing in the wake of an aeronautical coalesce, which clearly reduces the specificity of the land forces…(T)he volumetric reduction of military objects: miniaturization” (p18).
Finally, he makes a broader point about how technologies of speed and travel are related to the desires of military activities:
“It should never be forgotten that the ancestor of the automobile, the log transporter of the military engineer Nicolas Joseph Cugnot, during its first trip from Paris to Vincennes, was hauling a cannon” (p47).
Virilio’s Bunker Archaeology: reflections Part 1
Bunker, France, ca. 1958–65. Photo: Paul Virilio
This week I’ve been reading Virilio’s Bunker Archaeology (1967), a collection of texts and photographs documenting his research and visits to the military bunkers of the Atlantikwall along France’s northwest coast. Spanning coasts from northern Norway to Spain, the Atlantikwall consisted of 15,000 bunkers built to conceal radar stations, submarine pens, and various military arsenal.
He reflects on what it feels like to enter one of these ominous monolithic spaces and the relationship between death, tombs and military architecture.
‘I was more impressed by a feeling, internal and external, of being immediately crushed. The battered walls sunk into the ground gave this small blockhouse a solid base; a dune had invaded in the interior space and the thick layer of sand over the wooden floor made the place ever narrower. Some clothes and bicycles had been hidden here; the object no longer made the same sense, though there was still some protection here. A complete series of cultural memories came to mind: the Egyptian mastabas, the Etruscan tombs, the Aztec structures . . . as if this piece of artillery fortification could be identified as a funeral ceremony…’ (p11).
He describes trapdoors in cement floors leading to crypts packed with ammunition, round or hexagonal inner chambers, and often the placement of what alludes to a religious alter or plinth in the centre of the space.
“The bunker was built in relationship to this new climate; its restrained vo1lume, its rounded or flattened angles, the thickness of its walls, the embrasure systems, the various types of concealment for its rare openings; its armour plating, iron doors, and air filters – all this depicts another military space, a new climactic reality” (p39).
I also found it interesting to read his thoughts around the relationship between territorial representation (maps, satellite views) and military expansion. He writes about these representations being strategies of military control – satilletes and radar systems – and desires around ‘controlling expanding territory, of scanning it in all directions (and, as of now, in three dimensions)’ (p17).
“The “conquest of space” by military and scientific personnel is no longer, as it once was, the conquest of the human habitat but the discovery of an original continuum thar has only a distant Iink to geographical reality.”
Another thought I had whilst reading this was the act of fortification and what it means to use the earth’s material itself and underground locations as a kind of barrier. It’s making me think of the subconscious and how the spatiality of physical spaces can have psychological connotations and interpretations. Also, what it means for the decision-making processes and the actions that are expected to happen at these sites.
“The fortification is a special construction; one does not live there, one executes particular actions there, at a particular moment, during a conflict or in a troubled period” (p42).
First Scene
So this is my second draft of the first scene of Episode 1
Sepp : Hey…looks like it’s just us.
June : Looks like it (giggles)
Sepp : Did you enjoy the ceremony?
June : Hahha fuck no… these traditional meetings feel empty to me especially as they never include me.
Sepp : Yeah…I know…they are wrong for that…you should definitely be front and center
June : front and center? I don’t think I want to be verified to that extent.
Sepp : well Maybe It would make me pay attention a little more …closely
June: ….oh and why would that make you pay a little more attention
Their bodies are closer now, almost touching. Almost breathing on each other.
The sky cracks in half as the long forgotten voice of a lost GOD returns to earth.
The air began to resonate as it shifted through the atmosphere of carbon nitrogen and oxygen. The make up of life changed unbeknownst to anyone.
June : What the fuck was that?
Sepp : (covering her head) Jesus sounds like the whole sky exploded.
June is already running to a window. There are a lot of murmurs in the bar.
June looks out the window but sees nothing
A few others who were in the room have also run to the window.
No one says anything as they stare transfixed outside.
Sepp : (after catching up) Do you see anything?
Sepp comes close to them and holds their arm. It’s the first time they have touched all evening
June : (wrapping her arm under the waist of Sepp) No…but I feel like…(they look at Sepp and notice the anxiety on their face)…Hey are you ok?
The air was charged. Like a thick soup of static. As the voice wrapped itself around the planet and began to touch the ground the static rose on the skin of their backs.
June’s hair was floating as though she was submerged in water.
Everyone looked at her but their hair remained normal.
A buzzing sound could faity be heard.
June : It feels like I’m surrounded by electricity (they stop and listen)…can you..(they listen again)…do you hear something?
The buzzing sound gets louder.
Sepp : Let’s get away from the window.
The buzzing sound can be heard by everyone now. Although it had begun as an auditory experience, its frequency had begun to resonate within their bodies.
June sinks to the floor feeling a wave of nausea as their organs shake with the sound
June : Sepp I…I…
A pulse shook through the ground.
Sepp falls to the ground beside june.
The two bury their heads into each other’s shoulders.
They scream in unison as they expect the building they are in to fall in on them.
And then suddenly
everything stops
June: Are you still here…
Sepp: I’m with you…im with you
Their heads rise to meet each others gaze.
They are only an inch apart
The other members in the room are all standing against the walls as if the pulse had not been felt by them.
Their gaze fixed on the two holding on to each other
They watch them in silence.
June : Sepp…
Sepp leans in whispering
Sepp : Don’t leave me tonight
kissing June.
Understanding Shrines
Shrine in the volta region of Ghana. Deity unknown 
Alt text: Cement statute, covered by white cloth. Housed in a small tentlike structure 
Shrine for Mami Watta in Accra Ghana
West African traditional religions have pantheons of Gods.
Within these pantheons, there is a hierarchy. The supreme being is at the top, followed by deities, the ancestors, human beings, animals, plants and minerals. Our Spirit/Vital force is what connects us. There are not as many temples for the supreme being or the Gods; however, there are shrines dedicated to the specific deity. These Shrines have different purposes, but this is where the deity resides. Each shrine has a caretaker or caretaker and a priest who can communicate directly to and with the deity. We find shrines in mountains, rivers or seas, at the foot of a village or at the residence of a priest/priestess. Offerings of prayer, alcohol, food or money are given to the deity for goodwill, protection or gratitude.
What I find exciting is these enormous Pantheons still have unknown or undocumented deities. It is a platform for research and discussions on transgender deities and their place in Africa’s transgender society. What rituals safeguard and re-energise our vital force and connection to the spiritual universe? How can we hold spaces for those witnessing our transition? These are the questions I am working on.
MARK OF MY DEPARTURE
All work on my profile is orbiting this piece right here
These are the opening liner notes for MOMD. There are two images. They both share the same style; a black roti-textured background with bright pink text. On the first image, the text cascades down and reads ‘mark of my departure’ with each word in a different font. In the middle, across the cascade are the letters MOMD emblazoned large.
The second image has the same large MOMD across the middle. Above it is the track list. Which reads as follows:
mark one: water
mark two: melanogenesis
mark three: in the bazaar
mark four: ilford lane
mark five: be you
Underneath is a body of text that reads as follows:
MOMD produced, arranged and entirely composed by Allah SWT
features include Nusrat and company, the Chapparrals, whoever recorded that tabla loop, some random heads, Mufti Menk and that hilarious kid, Hamza Mohammed Beg and everyone who has ever interacted with us.
In the name of Allah the gracious and the merciful
I am greeted at the archway of my own work, stepping into it for the first time, hearing my voice drowned in the divine. All voices are dripping with it.
MOMD is a parting letter but I do not know to whom nor do I know where I am leaving to.
Those whom you guide none can misguide and those whom you misguide none can guide.
All of my research, writing and creative work for this program is trying to understand and expand on this that tumbled out of me >>>>>
INFLUENCE
I am attempting to make a interactive radio play controlled by speaking so the first things I have looked at are modern radio plays….which happen to be fictional podcasts
I never knew the radio play lived on in this form but I have to say
These three podcasts Carrier, The Message and Lif-e.af/ter have been a huge inspiration in how I can use sound as a way to craft a world that feels real and lived in.
Now the differcult bit is to finish writing the episodes.
Mistaken identities
Adversarial.io is a tool created to evade technologies of image recognition and reveal how differently machines and humans interpret images. Subtle noise added to images can completely alter how an algorithm will classify a photo, while in terms of human perception, there is little change to the original image.
I find it interesting in the context of my project because of the high confidence with which the M-10 computer declared its identification of the missiles (which turned out to be sunlight reflecting off clouds).
In my experiments, I gathered photos of nuclear missiles which, through such added noise, became sewing machines, freight cars, obelisks and totem poles in the eyes of computer vision.
Some of the nouns used to describe these missiles were quite obscure! I had to look up the definitions for: a stupa (a dome-like building usually containing relics and used for meditation), a barracouta (type of fish) and thresher (an agricultural machine for separating grains).
