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Supporting Text for 'Pedestrian Mysticism' by Clifford Borress



El Niño

I remember when I first heard of a laptop, I immediately thought of sitting 'indian-style' and also of 'toy dogs' that would run over and sit in your lap and while petting them. I never envisioned the computer, leveling over your lap, looking things up, getting too hot, shifting positions…I remember also this really early dell computer (or maybe AT&T advertisement) with the Patsy Cline song 'I Go Out Walking After Midnight' and it was about the computer and early teen love over the internet, accessing your friends without going on the phone and hoping no one else picks up on your side of the line. Aside from privacy, the challenge was always trying to communicate 'presence' over the phone, through a variety of techniques like 'breathing', whispering, hollow singing as you might in your room to yourself, looking in the mirror and seeing what it looks like to say 'put your hands all over my body'. Anyway, I want to keep telling you about this ad. It starts with these two teenagers, cool but perfectly modest, doing the 'adult' thing, they are at the girl's house after a date and right before she leaves his car to go inside. They obviously had a good time, she goes in, he goes home and getting ready for bed, they turn on their computer and start to communicate with each other over world web services. A voiceover mentions how fantastic technology will be one day, etc, etc.. Ok, so the really great thing about to unfold is they are about to do so many things on the computer with each other; chatting, changing fonts, taking a quick polaroid and scanning it, finding generic pictures on the web, superimposing faces and sending it all to each other. What you see are these enamored bodies with wide eyes and assorted clicks realizing this capability in tandem to their hormonal out-of-body enamor for each other. So I wonder, has the idea of polyphony ever embraced coincidence before? Can we simply see an experience as the general condition for a variety of sensations that occur at once?

THE FALSE SUBJECT

Trisha Baga's work approaches subjects and as she approaches them, creates an infinitely precious substance. Two bold things come from this approach; First, we experience a work (typically video and/or performance) that operates with a precise attention in what could be seen as a nonlinear collection of overwhelming emotional syntax within cultural syncings. Baga observes this syncing and adds or subtracts with it. Secondly, a phenomenological voice appears in the numerous screens, multiple overlays, cuts between formally similar objects, feelings conjured and then spoken to. Trisha work offers bearings, a reading attention within a mess senses. Andre Breton used the term 'infinitely precious substance' as the unifying quality concerning the fruits of surrealist activities. The infinitely precious substance sticks in a sequence throughout the work, the substance is a false emotion, a collision of both exuberance of contrived emotions with tender senses experienced at the same time. The most exciting part of the work is to think of this infinitely precious substance as a prolonged thought on the obvious and exteriorized subjects in the videos and performances as being false and despite being false, still creates sensation. Through a phenomenological approach, Baga reveals this profound material of false feelings, the trail to a known 'beyond'. Instead the work offers connections that appear momentarily, the connections are excited and somewhat out of breath as they are in the process of trying to do something.