openbracket ask the following questions; what kind of skills is one using in the act of text-receiving and text-making?

What is text-receiving? What is text-making? Reading and writing, but approached and executed in a variety of ways that may diverge from notions of reading and writing we are ‘inscribed’ with from childhood; notions which may stimulate some, alienate some and fail to engage others. We want to open up reading and writing to see how they can include everyday processes that highlight the writer and reader in everyone. We often approach writing as ‘inscription’; as traces of words that are left on paper and other media, including the traces of sound on memory. We also extend this notion of inscription to the way individuals are interpellated and summoned to act in society. For example, we are inscribed in terms of the jobs we do, the kind of upbringing we’ve had, the kind of organization of community we experience. People’s lives can be read through the texts they encounter or write in their lives. The reason we make this link is to find ways for our writing to temporarily, but constantly, offer us the possibility of liberation from the drudge of daily life. Text-receiving and text-making is reading and writing mixed up with the digital, the site-specific, the performative, and in approaching it as multi-faceted and complex,

we hope to draw out the collaborative processes that it can inspire. We believe this will develop what we call ‘collaborative literacy’ – the skill that enables us to deal with the demands of working in groups. Literacy theorist Margaret Meek wrote that the test of modern literacy is to be able to read new texts. The test for literacy in the 21 st century is to read and respond to texts sited in the digital realm, texts that move off the page and onto whatever surface attracts them, and texts sited in the body and between bodies.

Writing & Activism & Pedagogy In the practice I’m in the process of developing, my role fluctuates between that of artist, activist and pedagogue. For me, art without activism feels unreal, activism without creativity is easily contained by the authorities, and art and activism without pedagogy neglects a curiosity about and communication with the ‘other’.

Practical projects come out of a dialogue with a contemporary political moment, which manifests itself locally and networks globally. We want to find out how text-making and text-receiving can transform social relations and organising strategies, (and vice versa); and how, by working with new technologies, and emerging artist / activist initiatives, we can continue to investigate the notion of community through collaborative literacy. What are the links between the poetic experiment and the social experiment?

More? We work with words to remedy a sense of being constantly voiceless, and then wordless. It is our most urgent objective to pinpoint and express where and how we are trapped in & reproduce a system based on exploitation of humans and wastage of human potential. Therefore, we embrace processes that ‘decolonising our wounded bodies’ as the collective of performance artists, La Pocha Nostra, put it,

or of undoing our capitalist selves, as one that needs to be constant and in yer face and talked about and contemplative and open and nurturing. I see this contradictory process as only possible within the solidarity of a collective, and only through a multi-disciplined creative approach. We work as a loose, collective of artists, supporting each other and there exists a passion for inter-racial, inter-cultural collaboration driving us. We occupy various, shifting roles; we are hopeful and non-judgemental as we persist in moving towards a liberating & ethical artistic practice. We have an interest in all kinds of translations, including ‘bad’ ones.

(((((((((((keywords awareness / voice / physical presence / mutant / strategies / deal with / necessary chaos & messiness / non hierarchy / reconnect-poetry-body / materialise human interactions / identity / re-inscribing / temp lib ours fr drudge / urban

Writing & Performance In this work, performance & writing is a form of re-inscription; a practice of inhabiting a space that challenges or breaks with the apparent coherence of the way we are inscribed with the exigencies of contemporary society. It is a writing over, or a re-writing. I’m interested in reconnecting poetry to the body, as Hakim Bey has urged (“the post-post-structuralist question has become how to get back to the body, to materials that matter, to frank corporeality” Judith Butler Bodies that Matter), and in doing this through live art. To do this, the word has to be material, part of a heightened awareness of body; a potent event in itself, not an after-the-event representation. I’m also interested in the silence around utterance, the presence of bodies and the communicative value of this. We perform and inscribe words and texts in the urban environment (on the street, on public transport, in shopping malls, in protest situations) and where the performance enacts an exchange with the situation, and a trigger to action.

We write and perform pieces that insist upon multiple subject positionsin order to present a self that is unnameable, uncontainable and which tries not to be absorbed into the dominant discourse of competition and the short-sighted goals of consumer culture. We want to develop performances that inspire a physiological response in all participants and force lapses in the way society ‘summons’ and controls individuals. Our fusion of writing and live art is an experiment into what happens when I inject writing with live art’s concern for liveness, for an embodied event. We research the possibilities of non-hierarchical ways of working with text, (and why this might be necessary) and which get beyond a treatment of identity as straitjacket, into identity as multiple, contradictory and in flux.. We work through long-range projects that materialise and make visible human interactions in the collaborative process of making meaning. We are interested in performance rituals that empower & enable, not alienate or turn off.  

Open bracket asks what kind of skills are we using in the process of text making and text receiving?

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