Cover the to scale monopoly house with nurtured Biofilms from kombucha scobies around the world.
Cover the to scale monopoly house with nurtured Biofilms from kombucha scobies around the world.
Listening to beneficial scobie biofilm multiple and knit together through a live feed hydro condenser mic.
The Importance of Being Puddle - SFAI140 - Water Rights - New Mexico - July 2017
Athena Sourdough Envelope
I made envelopes for the sourdough that I made from the wild yeast I collected in the Parthenon Museum's Athena Room. Each Athena Envelope holds 1 ounce of dried sourdough.
EXCHANGE Video Looped 5 mins 15 secs
-piece video 5 mins 12 secs
Shakin' Your Can
Not everything that counts can be counted: Microbe Monopolies Game
“Plants and animals, including humans, are not autonomous individuals but are holobionts: biomolecular networks that consist of visible hosts plus millions of invisible microbes, recent microbiological research has shown."
From the Abstract, “Will the Pronoun I Become Obsolete: A Biological Perspective”
Not everything that counts can be counted: Microbes for the game board are collected from Atlantic City. Wild yeast for the die is collected from positive living communities across the country. Players activate the game by "rolling the dice,” by adding wild yeast to vegetable agar filled Petrie dishes via a pipette. Wild yeasts are from: Highlander School, Faerie Sanctuary IDA and The Farm. Kombucha and kombucha scobies, sourdough and ginger beer are nurtured from the same wild yeasts. Scobies are exchanged one-to-one for additional microbes through worldwide scobie trades. These microbial communities are then nurtured, shared and combined to grow scobie dollars that are printed with fermented indigo. The worldwide scobie exchanges are also nurtured into larger scobies or biofilms, that are used to create a living “skin” for covering a to scale monopoly house. Traded scobies rest in a scobie hotel until traded or nurtured into microbial drinks. Ginger beer, sourdoughs, kombucha and scobies are shared as the game is played and traded with participants in exchange for creating Community and Chance Cards and/or game pieces. Community and Chance Cards invite participants to hold hands, inhale deeply, clap, open specimen jars and pass the scobie dollars to one another to further activate microbial exchanges, connect with one another, share and move together.
The wild yeasts present throughout the game represent living communities and reciprocity. We are meant to nurture, share and regenerate the wild yeasts as an active meditation on our responsibility and interdependence between one another, our health and the health of our environment. Elizabeth Magie’s 1904 Landlord’s Game created during the Works Progress Era over potluck dinners with her friends is our guide.
Importance of Being Puddle
is a multi-platform work about vernal pools; an often overlooked body of water and notions surrounding restoration and liberation and (dis)ability.
Shown is an excerpt of a performance choreographed to field recordings of my everyday engagement with a small vernal pool located in an industrial park. The vernal pool treated as a puddle, follows an alternate cycle of repetitive covering and eruption.
Hydro microphones are used for underwater recording to reveal the pool's inner sounds. I used the same Hydro microphones to record sounds of my esophagus while I sat and stood in the vernal puddle as way to express empathy and forced cycles. Flag signals and body movements are based on the embodied language of the puddle's residents and visitors.
Flags are sealed freezer bags holding puddle water samples from each day and night visited, animal droppings, feathers, seeds, insect wings, soil, leaves, tar, plants, rocks, pavement, litter. Flag poles are painted from a mixture of tar and cow manure that was used to seal the vernal pool. The work is on-going an will become a graphic novel about urban vernal pools.
Vernal pools and vernal ponds or ephemeral pools, are temporary, seasonal pools of water that provide habitat for distinctive plants and animals. Each pool is covered by shallow water for variable periods of time from winter to spring; but may be completely dry for most of the summer and fall.
Socrates' Wagon Sings with Demeter's Torch
Socrates' Wagon Sings with Demeter's Torch (2014-15) is part of, FLEX IT! My Body. My Temple., Centennial National Park and the Parthenon Museum in Nashville, Tennessee. Demeter's Torch is a mobile community adobe oven sheltered by a mini Parthenon. Both are community built. Athena envelopes hold wild yeast collected in the Athena Room inside the Parthenon Museum extending her diplomacy, wisdom and guardianship to our health. Socrates' Wagon is a wagon used to collect wild yeast during regular public philosopher’s walks in Centennial National Park. Both wild yeasts are public invitations for stepping away from conventional mass-produced baked goods. Philosopher’s walks are a place for contemplative walks, for meditating on visible and invisible communities, with an eye to inclusive conversations with and led by local health care workers, care givers, people with autoimmune illnesses and holistic dietitians while collecting wild yeast. Demeter's Torch, the mobile adobe oven, is a public oven for cooking, community eating and experimenting with the sourdough made from wild yeasts collected in Athena's Room and during philosopher's walks in Centennial National Park. A doctor’s cabinet inside the Parthenon Museum, holds wild yeast and sour dough starter for people to “feed", use for baking in the mobile community oven and/or take and share. The doctor’s cabinet and yeast makes visible that care and responsibility are interconnected actions, necessary for moving to holistic practices for equality, our environment and one another. As a whole, Socrates’ Wagon Sings with Demeter’s Torch is about communities and in conversation with food policies like the Food Freedom Act, standardized food systems, our relationship to food and the direct ties between the environment’s health and our own health.
Socrates' Wagon Sings with Demeter's Torch was built with many hands, moved around and heated up by 23 local chefs, 45 families and Casa Azafran, an International Open Kitchen Collective. Many Thanks to everyone at Parthenon Museum, Centennial National Park and Arts Center, Vanderbilt University, The Center for Medicine Health and Society at Vanderbilt University, Scarritt Bennett Center, Fort Houston, Ferrin Ironworks, SEED Space, Windy Farms and Casa Azafran!
DIRT Shirt/EXCHANGE Since 2008, I have been using my body as a source of architecture and sustainability. I germinate Hairy Vetch seeds in my armpit, then I transplant and grow the Hairy Vetch seedlings in the Dirt Shirt, which is filled with contaminated soil from Brownfield sites in my Brooklyn neighborhood. I wear the Dirt Shirt during the growing season during my daily activities. Public water sources and rainwater are used to water the seedlings via a water system that is built into the Dirt Shirt. The seedlings and the in-process-bio-remediation-soil are then transplanted back into the public Brownfield sites. The transplanted Hairy Vetch further continues to grow and amends the lead contaminated soil from its toxins. Once the soil is amended, I harvest the Hairy Vetch seeds, plant Winter Triticeae wheat, harvest the wheat, grind the seeds into flour and make bread for the neighborhood. Bread was shared at Bushwick Campus Social Justice H.S., Bushwick Ridgewood Senior Center, Make The Road in Bushwick, NY Public Library Washington Irving Branch, JUST Food Conference, Dorsky Curatorial Program, Jill Sigman's Hut #6 and Gibney Dance Space and at the L train stop. During the 2016-17 Holiday season I modeled a collection of perfumes created from the bio remediation process called Citivas: Primitive Accumulations (inspired by Silvia Federici's "Caliban and the Witch: Women, the Body and Primitive Accumulations"), in Macy's, New York City.
More images to come.
My “hat” is made of bleached newspapers from Bogota, Colombia, a megaphone sits in the “hat’s” top center. A handheld cassette player emanates recordings up and out the megaphone. The recordings are of Alejandro David Osorio Pérez, my beekeeping mentor. I used audio to document each of our 182 work days together. Osorio’s voice triggers the beekeeping gestures we created together during my empathetic beekeeping apprenticeship with him. The work is about a foundation of relatedness, a way of being with and for one another.
Osorio cannot speak English and I cannot speak Spanish. The newspapers that make the "hat" are pages I slept on by night or wore in my shoes by day. Since we were communicating through our bodies, I hoped for Spanish words to enter my dreams, travel into my head, allowing me to speak with Osorio "fully". Never learning how to speak Spanish, I erased the print from the newspapers and practiced our beekeeping gestures in the Plaza de Bolívar each evening.
-piece is a remembering of our immediate communication between one another and between, the bees and land. The gestures are triggered by Orsio's recorded voice/instructions that I recorded for the 182 days of empathetic beekeeping mentorship as we worked together.
We are always acting in a social field with our words or gestures. Words may be embodied, put into service through a body in social action, and gestures may be the actual body. It is the relatedness that is important.
Temporal Dislocation: BodyGates through Stars, Water and Land
A partial written work from BodyGATES, an embodied night walk inspired by and walked during 4 astrophysical events. Thanks to supported by iLAND’s support and contributions by astrophysicist Christina Pease, Suzan D. Polat, Jorge Luis Porrta, Lauren Sheldon, Jill Sigman, and everyone who participated
Your body is not yours: it belongs to the helogenome, to the air. Air holds you over water, over water moving you in 2 directions simultaneously;
bright and nearby
faint and distant near and far
between each between you vibrating between all between collapse
all parts separated, together
Into the forested floor
levitating through lichens into oxygen water
walking up the bark of large trees.
B A R K.
broken by beaks
worn and fresh,
2 parts air, we move in
rolling into earthen gravel, dust and interstellar gas,
becoming Limbs, microbes, stars and luminous stones.
Word Servant : breathing : consciousness is always conscious
The environment is in us, and we are fully in the environment. Breathing is symbolic of life itself. We take special note of words that are carried on final breaths, and sometimes we even cherish the physical substance of the breaths themselves.
I inhaled and exhaled repeatedly into organic latex balloons, then pickled them. Breathing is both a conscious and unconscious exchange, cycling through all bodies, languages and environments entangling all bodies in expression, preservation and decay.
And after this nothing happened....
https://soundcloud.com/moira-williams-923399413/and-after-this-nothing-happened is a call & response clapping performance inspired by Plenty Coups, the last Crow Nation’s Chief utterance: “after this nothing happened” and Ralph Ellison's 1953 The Invisible Man.
Composer Krystal Grant and I created the call and response clapping composition together from a score of utterances I wrote about vulnerability and strength based in the texts mentioned above. The performance and score works in concert with Stephanie Dinkins' video Americana.
Levy Lorenzo Conductor, Krystal Grant Composer, Moira Williams Score and Choreography.
Performers: Conrad Bourdeau, Catherine Cellinlli, Krystal Grant, Levy Lorenzo, Alisha McCurdy, Kristina Stoyanova, Chris Williams and Moira Williams.
WRAP (2012-14) Performance and cardboard stand-in. Materials, goat’s milk, Himalayan pink salt, wild rice flour and linen gauze, surgical bucket and disposable cameras. Peeling, polishing, sorting, cleaning, cleansing, sifting, straining, de-husking, washing, and distillation are different techniques used in many cultures for healing, palliative care to remove impurities and improve the nutritional value of foods. Similar preparations are used in the pharmaceutical, seed, food and forestry industries. The cameras on my body invite participation with limited site lines due to the deliberate positioning of the disposable cameras. Activated cameras imply a surgical theater an audience bearing witness to the ways that illness spills, leaks and moves outward from the body and rather than staying within the body’s limitations as a body or our interdependent bodies.
GROUP WALKS: Wayfinding Waterways, Geological, Simultaneous, Site Lines, Convergence
GROUP WALKS consider boundaries and time between bodies: Wayfinding Waterways, Geological, Simultaneous Global Walking, Simultaneous Intimacy, Ability-ies, Site Lines, Narrative and Convergence.
Kitty City: Adoption Oath
Kitty City is an inter-generational experiment in collaboration and pedagogy, designed to encourage shared decision-making power and challenge the way we think about the urban environment.
Kitty City Adoption Oath is a playful and public oath taking covenant of care, respect and commitment. The Adoption Oath asks the adoptee to actively participate in a shared social and ethical responsible way with all living things. Each gesture during the Kitty City Adoption Oath is a communicative cat gesture like winking both eyes while holding eye contact, which provides reassurance and builds respect and equality.
We partnered with For Animals, Inc., a no-kill shelter, who provided Kitty City with its inhabitants. Neighborhood Cats also joined us whose mission is to reduce feral cat over population and improve quality of life for free-roaming cats using methods known as Trap-Neuter-Retun or TNR.
Please Check out the links below for more Flicker images from Kitty City at Flux Factory, the 28 kittens and cats adopted and the 3 who found foster homes, along with all the people who made it happen.
Thank you to our Kitty City Poet Laureate Bob Holman!