"Call and response: Kelly Warren"

The Call: 

I’m working on a series called "Call and Response". It’s about dialogue. I would appreciate it if you would participate. Just send 2-4 pieces of evidence. It could be images of your work, work you like, things you find interesting.

The Response:

Thanks for inviting me to be a part of the conversation.  Here are some things that I am interested in currently (they are always changing!):

1.  Using reclaimed materials to create something: 

This video is one I have probably shared with you...I just love it and Dan Phillips makes it sound so easy! 

*My aunt is an artist out of Phoenix, AZ who creates beautiful works of art from "junk".  She is the person who finds treasure in your trash.  It has amazed me for as long as I can remember, and I've always loved and appreciated the idea of "mixed-media" creations.  Recently, I have invested some time into starting to make my own (and first) dining table out of reclaimed barn wood from a barn that was torn down here in Washington, NC.  I have no idea how it will turn out, but I am so excited to go through all of the steps of preparation and creation.  There is a plan in place but I predict that it will change as things progress.  To me there is something so rewarding, beautiful and thoughtful about using reclaimed/recycled materials to create anything!

2.  Embellishments

*I see embellishments everywhere...clothes, cars, billboards, TV, etc.  They are flashy and catch you eye but can be so void of any meaning/utility.  I also hear embellishments constantly throughout the day...in stories, news broadcasts, from students, from neighbors, etc. Now I've been known to embellish a story from time to time, which can be a creative outlet. However, the embellishments that are used for personal gain (i.e.-politician platforms) have really become very troubling to me. I want stripped down, honest, and simple...the embellishments have become just too much these days. What ever happened to simplicity?

3.  Diversity  (this one is a little jumbled!)

*I've always been drawn to things that were different--people who thought and looked differently from me.  As a young girl, I wanted to learn about what made people different--their backgrounds, experiences, upbringing, etc.  I wanted to understand them so that it would help me relate and find common ground.  I did this before the word "diversity" became such a buzz word.  I did this out of an innate curiosity to learn about others.  The word "diversity" comes up a lot over here at ECU.  There are plans to increase diversity, programs to support underrepresented groups of people, and governing powers telling institutions that they need to have faculty that reflect the diversity of the student body, which also needs to be more diverse. I also know that our world would be quite boring without diversity in thoughts, art, music, religions, styles, languages, etc.  But I struggle to find a balance when it comes to focusing so much on diversity it becomes divisive and we get pushed further apart, rather than being brought together to appreciate our similarities and celebrate our differences.  Someone always seems to be left out.  I'm not sure if this makes sense.  I wonder if the artists struggles with this concept of diversity...you want to create a brand or a certain look/style, but you want to create something new and different with each new piece, too. 

Okay, so I am not sure if those make sense or fit what you are looking for, so if you need additional information please let me know :)

Have a great weekend,

Kelly

 1.  "I have no idea how it will turn out, but I am so excited to go through all of the steps of preparation and creation." Here at empathinc. we call that process. Actually we call it good livin'.

2.  "What ever happened to simplicity?" We don't have an answer for that one, Kelly. Tell you what - we'll google on our smart phone and then text you and post on our Twitter account to insure redundancies.

3.  "I'm not sure if this makes sense." empathinc. holds that anything related to an individual is already imbued with meaning. And that just makes good sense to us. Understanding is overrated.

Empathinc. Photo Response Credits:

1.  Shamelessly lifted from the World Wide Web (WWW).

2.  Willoree Ford (grandaughter) with my friends Almetto and James Alexander.

3.  Shameless promotion of son Isaac Schulz' new project: Shibuya Wildcats.

Kelly's blogs: 

This is where I met Kelly. Click here for a great article.

And here: "I love music and I love to write…so there ya have it!  I hope you enjoy my blog about the music that invades my life and plays a major role in my evolution."

Thanks for being part of the conversation, Kelly!

Have a great life,

Tom 

 

While comprehending both the conveniences and pitfalls of a Cause and Effect existence, 

here at empathinc. we prefer to live in a Call and Response Universe. 

This series is an exploration of that space. 

"Call and Response - Beyond Understanding"

“Rabbit's clever," said Pooh thoughtfully.
"Yes," said Piglet, "Rabbit's clever."
"And he has Brain."
"Yes," said Piglet, "Rabbit has Brain."
There was a long silence.
"I suppose," said Pooh, "that that's why he never understands anything.”

A.A. Milne, Winnie-the-Pooh 

While comprehending both the conveniences and pitfalls of a Cause and Effect existence, 

here at empathinc. we prefer to live in a Call and Response Universe. 

This series is an exploration of that space. 

Video by Daniel de Wit 2012

"Call and Response - Empathy in Corporation"

"You employ stone, wood, and concrete, and with these materials you build houses and palaces: that is construction. Ingenuity is at work. But suddenly you touch my heart, you do me good. I am happy and I say: 'This is beautiful.'" 

Le Corbusier (see more here)

My years of working with the root concepts of empathy have lead me time and time again to issues of place. I'll spare you the inchoate details and cut to the chase.

If I attend to empathy as empathy has come to be enacted, then I walk a mile in your shoes and manage to think as you think.I have come to understand that concept as being way off the mark. To even assume that I understand your feelings (as you experience your feelings) is a kind of emotional colonialism. I can't occupy your emotions without impressing my life experiences on yours.

How could that even work?

What I can do is hold a space sacred so that perhaps you can experience your circumstances in safety. Why, that's a veritable cathedral of circumstance. The question du jour of the day becomes: do we make a space sacred? Is a space always already sacred and we find ourselves slow dancing in an empathic exchange? Is a space made sacred through our recognition of each other? Our recognition of the space as being intrinsically sacred?

I think about these things.

And the thought envelopes you. 
And it embraces me.

And this is beautiful.

"Consider this: Let’s say that the space you occupy is a Jello mold and that you and your circle of family and friends – your reality team – are banana slices suspended in lemon lime goodness. Now what transpires within each banana slice is implicitly akin to the Jello, and jiggles about as the Jello jiggles. And there is a certain simplicity about this."

Le Grandtoureau (video link here)

"From the dawn of man's imagination, place has enshrined the spirit; as soon as man stopped wandering and stood still and looked about him, he found a god in that place; and from then on, that was where the god abided and spoke from if ever he spoke."

Eudora Welty (complete text here)

 

While comprehending both the conveniences and pitfalls of a Cause and Effect existence, 

here at empathinc. we prefer to live in a Call and Response Universe. 

This series is an exploration of that space. 

"Call and Response: Multiple Histories"

 

"The freely associating mind is able to pass across time barriers, sensing the future and reappraising the past. Our minds are time machines, able to sense the flow of possibility waves from both the past and future." 

 Fred Alan Wolf

Imagine (if you will) that your reality (as you have come to understand your reality) is not a stagnant construct. Oh,to the contrary. Yes,imagine then, your reality as fluid: a stream flowing once forward and then receding. A tide that provides  both the ebb and flow of concrete being.Surface providing a reflexion of mixed vision. You staring at you staring

at you.

 Imagine (as you can) that you have uncrated the masterpiece of your own specific being. And heralded its arrival, setting it out for public display. Imagine (and you will) that erudite critics proclaim that you and you and you deserve the highest acclaim.

Oh happy day. Save the article for your scrapbook. 

And your mother.

"The single story creates stereotypes, and the problem with stereotypes is not that they are untrue, but that they are incomplete. They make one story become the only story.”   Chimamanda Ngozi Adichie

Photo credits:

1.  Workmen at the Metropolitan Museum of Art, New York, uncrating "The Madonna of the Rosaries," a painting by Caravaggio on loan from the Austrian government, 1950.

2. Volunteers at an empathinc. event unpacking, "The Ditch Digger", a painting by Scott Avett, on loan from Scott Avett (Avett Brothers Nation), ArtStorySpirit, 2012. Photo by Daniel de Wit.

While comprehending both the conveniences and pitfalls of a Cause and Effect existence, 

here at empathinc. we prefer to live in a Call and Response Universe. 
This series is an exploration of that space. 

 

"Call and Response: The Shadowed Folds"

The poet Rilke looked at a statue of Apollo about fifty years ago, and Apollo spoke to him. “You must change your life,” he said. When true myth rises into consciousness, that is always its message. You must change your life.” 

Ursula K. Le Guin, “Myth and Archetype in Science Fiction”, Parabola I (4), Fall 1976

Wouldn't it be marvelous if you could trace the lineage of your personal history around and around through the turnings of the labyrinth that is time? Your narrative would serve as the thread that is Ariadne's yarn, wound up in a representation of your own spiral DNA. From the Joadian dust fields to the Hubblian star fields - your  
land would be made for you and you.

Or what if you snip out disparate images and pasted them in your memory as an alternate reality? Could you smudge out the edges and

mollify your editing? Peel back the shadowed folds and peek beneath the layers? 
Could you let go of the string and risk being lost? Accept being lost? Embrace being lost? What then might you find in the tracing? In the yarn?

 

If You Go Far Enough Out 

If you go far enough out 

you can see the Universe itself, 

all the billion light years summed up time 

only as a flash, just as lonely, as distant 

as a star on a June night 

if you go far enough out. 

And still, my friend, if you go far enough out 

you are only at the beginning - of yourself. 

Rolf Jacobsen  




Photo Credits:

1.  Jack Whinery, homesteader, and his family. Pie Town, New Mexico, October 1940. Reproduction from color slide (tinting without permission by empathinc.). Photo by Russell Lee. Prints and Photographs Division, Library of Congress 

2. Tom Schulz, artist, and some of his family (Mrs Tommie Bolton, Mary de Wit, Billy Schulz, Tomschulzartist, Johntheplantman). Columbus, Georgia, guessing 1965, photographer unknown (guessing Jane Schulz, could be William H. "Bill" Schulz).

3.  Grandmother amusing her young companion in the waiting room of the Greyhound Bus Station, New York City, July 1947. (Courtesy of the National Archives)

4. Nephew amusing his older aunts (Frances and Irma Hochstein) in the living room of Their Apartment. Most likely Washington DC. (Courtesy of the Green File Folder).

While comprehending both the conveniences and pitfalls of a Cause and Effect existence, 

here at empathinc. we prefer to live in a Call and Response Universe. 
This series is an exploration of that space. 

"Call and Response: Wisdom"

"They fought a real revolution....and that meant every man was equal in the sight of Nature - with an equal chance. This didn't mean that twenty per cent of the people were free to rob the other eighty per cent of the means to live." Carson McCullars, The Heart Is a Lonely Hunter, (1940)

If it were'nt for this, it wouldn't of been that. And that's the God's own truth, as far as I have known it to be true. Welcome to Wisdom.

Now you? You might a known it in a different light: but you and me - both of us - known it to be the one and the same thing.
That is the way of the

world. And that is the way of the whirled.
So be it.

Once and of a time, things was different. You had your way. And me?, I had mine.
But things was not the way that they is now. Cause first off: times they've changed. What was once again slow and of a particular motion is now
sped up and sped up again so as not to be recognized
(nor reconciled)
in the moment that we once thought of as now. And that's just the way of it, like it or not it is of no matter to us.

And the young people? The young people, they know of which I speak, for they and they alone, have known the particular now
as their now. It has no Presidents, this now. No, for this now is one and of a kind. Like the hares that is amongst both the garden and the moon and the yarn.Feeding hear and yon upon what is all and all the cultivated and the wild.
Carrots be dammed.
Like vast concrete abutments across the span of our understanding. Such is: Wisdom

Photo Credits:

1. Wisdom, Montana, April 1942. Reproduction from color slide. Photo by John Vachon. Prints and Photographs Division, Library of Congress
2. Concrete, North Carolina, June 2006. Reproduction from digital camera. Photo by Tom Schulz. Prints and Photographs Division, Empathinc.
3. A welder who works in the round-house at the Chicago and Northwestern Railway Company's Proviso yard. Chicago, Illinois, December 1942. Reproduction from color slide. Photo by Jack Delano. Prints and Photographs Division, Library of Congress
4. An artist who works at the Wesmont Station Project. Wood-Ridge, New Jersey, March 2012. Download from mobile phone. Photo by Daniel de Wit. No prints in the Library of Congress

While comprehending both the conveniences and pitfalls of a Cause and Effect existence, here at empathinc. we prefer to live in a Call and Response Universe. This series is an exploration of that space.

Thanks to John Schulz for this link:
http://extras.denverpost.com/archive/captured.asp

"Call and Response: Bio Degradable"

"Resentment is the most precious flower
of poverty. Yeah."
Carson McCullers, The Heart Is a Lonely Hunter" (1940)

I don't know if this ever happens to you. It happens to me. This is what happens: I begin something and it takes on a life and complexion of its own. That's good. But then as if the project were some conceptual chigger bite, I begin to worry it. Scratch at it. Scratching turns into embellishment. Stop me if this is new to you and I'll make every effort to
add details.Before I am aware, a concept that may have been sublime and elegant as
birthed, becomes bloated and ungainly.
That's when (if I am paying any attention at all), I stop. I sweep up. I evoke repairs.
I let the air out of the balloon.
I risk making mistakes. I
walk away from the preciousness of anticipation and preconceived desire.
I wear an aluminum foil hat and avail myself to the
unknown.
That is what I am going through right now. In eliminating the barriers that are the corral separating out the herd of who I am from the herd of what I do, I have constructed some free-ranging Golem. I have fashioned a simulacrum of my self. The hands molding the image are mine. The clay is the stuff of my inheritance, held together by the spit of my essential self.
You are there.And
we are connected at the intersection of effort and dream. Whirled without end.
Amen/Yeah.


“He saw that all the struggles of life were incessant, laborious, painful, that nothing was done quickly, without labor, that it had to undergo a thousand fondlings, revisings, moldings, addings, removings, graftings, tearings, correctings, smoothings, rebuildings, reconsiderings, nailings, tackings, chippings, hammerings, hoistings, connectings—all the poor fumbling uncertain incompletions of human endeavor. they went on forever and were forever incomplete, far from perfect, refined, or smooth, full of terrible memories of failure and fears of failure, yet, in the way of things, somehow noble, complete, and shining in the end…” Jack Kerouac: The Town and the City, (1950)

While comprehending both the conveniences and pitfalls of a Cause and Effect existence, here at empathinc. we prefer to live in a Call and Response Universe. This series is an exploration of that space.

"Call and Response: Junko Kawashima"

"Without the coming of awareness, things cannot be seen. Whatever we see must be recognized
as existing on the verge of creativity."
Kishio Suga

Artist Junko Kawashima @ Empathinc. (2005) Charlotte, NC. USA

The Call: I’m working on a series called "Call and Response". It’s about dialogue. I would appreciate it if you would participate. Just send 2-4 pieces of evidence. It could be images of your work, work you like, things you find interesting.

The Response:
I'm sorry for being late、、、！！
my web site

http://junkokawashima.com/ (Ed. - Be sure to scroll down the blog entries. The photographs are a veritable Ann Frank's Diary of contemporary Japanese life)

i like this sites (Ed. - click on highlighted links to see what Junko likes)

http://www.yvoschaap.com/chainrxn/ (Caution: need nerves of steel or mild sedative!)

http://www.tomiokoyamagallery.com/ (Turn off your phone and put on a pot of tea!)

http://www.tokyoartbeat.com/ (Click here for more bubble fun!)

http://www.watarium.co.jp/ (Remember, language barriers are not electric fences!)

Artist Junko Kawashima has been a long time favorite of empathinc. As we have sorted through the links she has sent in her response, we find ourselves amazed at the level of informational engagement she is able to sustain and filter. Art and life and art and food and art and games and art and painting and art and communication: laughing, drawing, photographing, documenting!

RECENT WORK BOLDLY RIPPED FROM THE WWW!:

tomschulzartist responds: This work needs to be looked at. Seemingly delicate, the surety of the hand that has made the mark speaks to a fierce confidence. As do the demarcations of form and space. The evident rapid process of constant, in the moment, editing compares to a skilled athlete in a clinch. And the characters, while mostly portrayed as waifs or overly extended ingenues are clearly in control of any pictorial context. If commerce engulfs them in a hyper abundance of information and goods, they prove capable of ingesting all the input with aplomb. And then hunger for more. They are in familiar territory. As warriors they are shielded by a river of hair, clad in the armor of fashion.

And in the midst of a primarily black and white world is the abrupt gem of unexpected color. This color is a firefly scooting across the drawn world – beckoning the viewer to give chase. Go find mason jars and punch holes in the lids. There is life in this work.

For these are not just drawings. They are visual Haiku. Lyrics to some clip from the film Mothra. Proof of existence.

Read entire essay here.

Then, moving into the current again, I sailed like a leaf carried along by an effort not really my own. Whenever I had a morning like this,
I was cheerful for the rest of the day.”
The Tale of Murasaki, Liza Dalby 2001


While comprehending both the conveniences and pitfalls of a Cause and Effect existence, here at empathinc. we prefer to live in a Call and Response Universe. This series is an exploration of that space.

Thanks Junko, for Responding to the Call.
You will never be considered late for a response. Tom

Above: "Novena for Sendai # 1"© (detail), watercolor on paper, Tom Schulz, 2012.
From the Novena Paintings Series.

EXTRA BONUS MATERIAL!


“Taking Shape”
Click here: Information Inversion Project. Week 4.

"Call and Response: John Robert Schulz"

"We shall not cease from exploration and the end of all our exploring will be to arrive where we started and know the place for the first time."
T. S. Eliot

The Call: I’m working on a series called "Call and Response". It’s about dialogue. I would appreciate it if you would participate. Just send 2-4 pieces of evidence. It could be images of your work, work you like, things you find interesting.

The Response:

From: jrs219@gmail.com
Subject: Evidence
Date: December 25, 2011 3:25:15 PM EST
To: tomschulzartist@gmail.com

Detail from The Book of Kells

#1. Interlacing / Intertwining: The Book of Kells and Wildstyle Graffiti

Lately, I've thought quite a bit about the interlacing of elements found in early medieval illuminated manuscripts such as The Book of Kells and how those images may have influenced graffiti artists in the creation of Wildstyle graffiti pieces. I've enjoyed experimenting with similar methods of intertwining on occasion and will continue this pursuit because I am absolutely fascinated by the history and the process.

An example of Wildstyle graffiti by Yurika of Bogotá, Colombia

A painting of mine from 2007

This link will take you J.R.'s website. Sparkly good fun!

#2. Subtractive Synthesis, Video Feedback Loops, Videodrome and Marshall McLuhan. I have enjoyed learning subtractive synthesis over the past few years and it has been extremely rewarding to me. I love the immediacy of hitting a key and hearing a sound as well as the idea of sculpting sound from a basic tone, much like a sculptor starts with a block of wood or marble. I have also enjoyed experimenting with video feedback loops (with a cheap movie camera pointed towards an old analog set) and seeing waves of color and shapes cascade forward as I adjust settings on a video enhancer. This particular interest was rekindled recently after re-watching the David Cronenberg film Videodrome. I think there are some very interesting ideas (though not for the squeamish) there concerning technology and how it can change us both psychologically and physically. I also find it interesting that the director modeled the character Brian O'Blivion after Marshall McCluhan who championed the idea that human inventions were extensions of the human body, like the gun being an extension of the human hand, the wheel (or car) being an extension of the foot, and so on. I feel that as our devices become increasingly focused on the self, a closed loop is formed much like a video feedback loop. An extension of the self presenting the self to the self, folding in on itself...

Here is a video feedback loop which I have framed within a painting of a fossilized Curtis Mathes television set. I composed the music on an Alesis Ion synthesizer:

And here is a clip from the film Videodrome (1983), David Cronenberg.

tomschulzartist responds: somehow or another I've become a kefir guy. Which is no real surprise, seeing as I started out in my hippied youth as a yogurt guy (having stolen a copy of Abbie Hoffmans, "Steal This Book").

I've got these starter grains that look like cauliflower and when I add milk and let it sit around, it ferments and creates a symbiotic matrix of sugar and lipids and stuff. The resulting cultured beverage is chock-a-block full of pro biotic organisms creating a network of interacting community (antioxidants began to have such negative connotations for me).

And that is what I find so fascinating in the evidence provided to this humble blogger: these pieces are of a whole. They (together) create a symbiotic matrix of information. McCluhan said that, "Art at its most significant is a Distant Early Warning System that can always be relied on to tell the old culture what is beginning to happen to it."

What J. R. Schulz posits in this response is that we as a people are being acculturated by the very specific nature of our inventions. So as ancient nomadic shepherds of the Caucasus Mountains discovered that milk carried in goat skin containers fermented into an effervescent drink, then Schulz connects the dots and locates a soured starter seed of intertwining threads of interest and disinterest. And this seed feeds upon itself and grows. Our efficient and considered utilization of this potential sustenance becomes the mainstay of art. And culture.
Strain and refrigerate.

When the Ten Thousand things are viewed in their oneness, we return to the Origin and remain where we have always been.
Sen T'sen

While comprehending both the conveniences and pitfalls of a Cause and Effect existence, here at empathinc. we prefer to live in a Call and Response Universe. This series is an exploration of that space.

Thanks J. R., for Responding to the Call. Tom

Above: "Gordian Knot"©, mixed water media on paper, Tom Schulz, 2008.
From the "Interfaith Prayer Painting" Series

"Call and Response: John Bambach"

“Maybe we try too hard to be remembered, waking to the glowing yellow disc in ignorance, swearing that today will be the day, today we will make something of our lives. What if we are so busy searching for worth that we miss the sapphire sky and cackling blackbird. What else is missing?
Maybe our steps are too straight and our paths
too narrow and not overlapping.
Maybe when they overlap someone in another country
lights a candle, a couple resolves their argument,
a young man puts down his silver gun and walks away.”
Naomi Shihab Nye
Time You Let Me In: 25 Poets Under 25

The Call:

Hi John,
Hope all is well.
I’m working on a series called Call and Response. It’s about dialogue. I would appreciate it if you would participate. Just send 2-4 pieces of evidence. It could be images of your work, work you like, things you find interesting.

The Response:

Tom,
These are attached in better resolution. Notations follow. Tell Sheila hello for me. – John

©John Bambach

Close family friend, Carolyn, with Jesse just prior to her orthodox Jewish wedding in 2003.
It was a photo shot with my last roll of film, just prior to my current digital lifestyle.

©John Bambach

Self-portrait.

John Bambach has taught and worked with photography since 1969 and was a founding member of the Light Factory in 1972. His career in education and multimedia technology spans 40 years, in both higher education and public television. His current work is most often done for Myers Park Baptist Church and the Cornwell Center where he works in visual media, technology and educational programming.


tomschulzartist responds: it took me a while. It took me a while to discern what this particular packet of information might mean. Might mean to John. Might mean to me. On one hand it seemed so scant - delivered quickly - almost on demand. On the other hand, the expediency and austerity had a certain urgency about it. Like it was there all the time waiting to spring across the ether, aching to be seen. But then, who's to say what is insight and what is unfettered imagination? That distinction is a hedgerow of leafless trees.

An awareness slowly made it's way into my conscious thinking like a methane bubble drifting to the surface of a silt pond: I had been delivered an autobiography. Succinct but layered. Discreet, but complete. A span of adulthood covering forty years of work and involvement. Chapters of personality shared in content and detail. Methods and materials and circumstances as adequate in precise description as dialogue and family albums. Lovely, concise. Funny and elegant.

I wonder to myself if I could carve my story to the bone like that? Perhaps you may wonder the same. I'm prone to layering. If one image will do, why not overlay a galaxy of images? But why not dial it back? Naturally, I can think of a million reasons. And irony is so 1990.

So maybe. Just maybe. Maybe, in 2012, elegant will be my new black.

“I live on Earth at present, and I don’t know what I am. I know that I am not a category. I am not a thing — a noun. I seem to be a verb, an evolutionary process – an integral function of the universe.”
R. Buckminster Fuller

While comprehending both the conveniences and pitfalls of a Cause and Effect existence, here at empathinc. we prefer to live in a Call and Response Universe. This series is an exploration of that space.

Thanks John, for Responding to the Call.
Sheila says hello. Tom

Above: "Aneurysm", watercolor, gesso, enamel on paper, Tom Schulz, 2004.
From the "My Nature" Series