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Sequencing is Fulcrum Arts’ online transmedia publishing platform, providing a space for critical conversations and expressions at the convergence of art, science, and social change.
Sequencing is made possible with the generous support of the National Endowment for the Arts, the Andy Warhol Foundation for the Visual Arts, and the Wilhelm Family Foundation.
The tide line is a soft transition. Where capital meets the sea, it creates brittle structures, likely to shatter. The ocean’s edges may not be as fluid as they seem.
Inside this, another animal grows, then another, another. Eventually there are hundreds of thousands.
04/19/2018 i move back to Seoul during the season of Yellow Dust. my infrared camera begins glitching like the shaman herself
An NFT offers a generic something: some thing, neither here nor there, which exists in order to escape being worthless (a born loser). It escapes to the address it is given, and its value is held precisely there.
Written as a kind of trip-report with a posthuman sensibility, Instance Terrain Spread describes experiences that would be incomprehensible in conventional spatial reality, but are easily understood when experienced in a virtual space.
discomforting circularity turns in my stomach, thinking about Santa Monica’s full-circle from place of work to ‘workplace.’
On February 22nd, I walked from my house in Northeast Los Angeles to the ocean in Venice Beach. I recorded the nearly 9 hour, 20 mile walk along highways, under bridges, and through different neighborhoods with binaural in-ear microphones.
I talk to my cousin Corey Stover on the phone and he teaches me hokšíkilowaŋpi (to sing a lullaby); we are both cruelly out of tune. He is in Oglala Nation, I am in LA, and we perform our distance. He sings to me and I to him, a short melody. I watch LAPD helicopters out the window of 242 East Avenue 41 and compose a short drone.
In the fall of 2020, I began gathering samples for what I’ve termed an Anthropogenic Mineral Collection. These carbon-based minerals consist of human-mediated byproducts of geological intervention from the Industrial Revolution to the present. The majority of those in my collection are caused by industrial mining of valuable conductors, and have not been recorded elsewhere as natural occurrences.
Despite the conclusion, the museum continues to exhibit the sculpture, claiming that it has acquired a modern cultural identity that transcends “issues of origin and genuineness” and stands as an “icon of the ever-changing perceptions and connoisseurship in the field of pre-Columbian studies.”