FOUNDING Chalan Kiya Evidentiary Prize, 2019.
Awarded to Chamoru artist that produces a work on-location or in reference to Chalan Kiya.
ANNOUNCEMENT Snowno Lagu, Opens Jan. 2020
Statement released: Duplication changes the noun snow to a verb: snow-no. With the addition of a cardinal point, lagu, action becomes adjacent to placement and direction. Literally, snowing ocean, and interpreted as action ocean: Snowno Lagu.
ANNOUNCEMENT FG/CE (Flat Gallery/Curving Earth), Inaugural show projected Feb. 2020
PDF or carry-on: FG/CE must conceal.
ANNOUNCEMENT Sssuper Nulu releases Bad Reception, Jan. 2020.
FOUNDING Snowno Lagu (Studio), Nov. 2019
REF Cinta Kaipat
FOUNDING Sssuper Nulu, 2019.
GROUP Off the Wall June 1, 2019. Armory Center for the Arts, Pasadena, CA.
All Off the Wall ticket sales and auction proceeds directly support the Armory's exhibitions, education, and community programs.
ARTISTS: Kim Abeles, Edgar Arceneaux, Carmen Argote, Sara Kathryn Arledge, Susu Attar, Judie Bamber, Whitney Bedford, Sigrid Burton, Cassils, Marta Chaffee, Diane Christiansen, Andrea Chung, Robbie Conal, Sid M. Duenas, Connor Everts, Fallen Fruit, Steve Galloway , Jill Giegerich, Joel Glassman, Sherin Guirguis, Al Held, Robert Hilton, Jessie Homer French, Chris Kallmyer, Matsumi Kanemitsu, Farrah Karapetian, Soo Kim, Alice Könitz, Hirokazu Kosaka, Rockne Krebs, laub, Charles Long, Patrick Martinez, Steve Mayerson, Nicole Miller, Justin Moore, Amitis Motevalli, Oliver Nowlin, Chris Oliveria, Michael Parker, Luciano Perna, Paul Pescador, Nancy Popp, Susan Rankaitis, Vicente Razo, Herb Ritts, Ed Ruscha, Alison Saar, Analia Saban, Connie Samaras, Raymond Saunders, Richard Serra, Sister Frances Shimotsuma, Susan Silton, Henry Taylor, Neal Taylor, Devon Tsuno, Sadao Uetani, LaMonte Westmoreland, Brian Wills, Kim Zumpfe
AWARDS Rosa Reyes Duenas Spirit Prize May 30, 2019. Awarded to Chamoru artist for artwork with tripartite power.
Please sit, InspacespacespaceFrom night. We are not InnightnightnightFrom darkness enough! TothreepersonthirdpersonpowerpowerpowerIn first-light-still-&-rapid. Please talisay (or almonds) in pocket this familial ceremony-&-enabling grant commemorate darkdarkdarkspacespacespace and beginnings
NEWS Chetton
REF Daytime mwarmwar boat story shiny head and heavy plumeria convulsing stomach tightening throats tear after tear everyone squeezing at the picnic table here sweet mosquito coil cherry-ree time and ofeng's marijuana aluminum foil on light bulb tonight illegal bat and turtle from a friend of a friend shadow out of a tree dog dancing dead man and his refrigerator pressing peppers to the top of his mouth in the tall deer catching razor grass the before-people spit city boy burning remember weskey from belly to spine half circle nerve attack soothed with coral limestone and banana leaf thank you auntie pay-your-bills
GROUP Allan Kaprow / Words Converso. April 6-25, 2019. Church of San Paolo Converso, Piazza S. Eufemia, 3 - 20122 Milano.
"A play assumes that words are the almost absolute medium. A Happening frequently has words, but they may or may not make literal sense. If they do, their sense is not part of the fabric of "sense" that other nonverbal elements (noise, visual stuff, action) convey...If they do not make sense, then they are heard as the sound of words instead of the meaning conveyed by them." Allan Kaprow, "Happenings in the New York Scene" (1961)
In 1962, Allan Kaprow organized Words at Smolin Gallery, New York. This multi-sensory participatory ''Environment'' consisted of two rooms. Words from poems, newspapers, comic and telephone books handwritten on pieces of paper or stenciled on rolls of canvas covered the walls of the first room. The participants were encouraged to rearrange these words and add to them by writing on pieces of paper. Three records played a text recited by Kaprow while red and white light bulbs flashed on and off. In the second room, writing covered the walls as well. Here, participants could use colored chalk hanging from strings to graffiti the walls with pictures and messages. The visitors could also write on pieces of paper clipped to bed sheets draped from the ceiling. A phonograph on the floor played barely audible whispers.
At CONVERSO, Alexander May and Zoe Stillpass have reinvented Words by asking 100 artists, writers, and curators to contribute 100 words each. These lists, phrases, and passages will be entered into an artificial intelligence that will remix and rewrite them. The AI's recurrent neural network has learned to generate text by reconstructing sentences and even inventing new words. Heard throughout the space, the AI's voice will recite this constantly evolving text. White panels on which visitors can write will cover the floor of the church. The text read by the AI will no doubt influence what visitors choose to write. As the space fills up with language, individual floor panels can be removed, stacked, and replaced with new ones. Through this interaction between people and things, images and sounds, human language and programming language, a polyphonic poem will begin to self-generate. As the authority of human linguistic structure breaks down and words stop making sense, what new meaning might emerge? Words is produced in collaboration with the Allan Kaprow Estate and Hauser & Wirth. With a special edition poster by Allen Ruppersberg.
ARTISTS: Mitchell Anderson, Michel Auder, Marie Auvity, Laetitia Badaut Haussmann, Mark Barrow & Sarah Parke, Tenzing Barshee, Alessandro Bava, Julie Beaufils, Will Benedict, Judith Bernstein, Jonathan Binet, Christopher Bollen, Edoardo Bonaspetti, Jennifer Bornstein, Julie Boukobza, Francesca Brusa, Katarina Burin, Marin Buschel, Victoria Cabello, Alessandro Carano, Xinyi Cheng, Mieke Chew, Tyler Coburn, James Crump, Michele D'Aurizio, Anna Daneri, Adrian Dannatt, Kamran Diba, Leah Dieterich, Sid M. Duenas, Paula Dykstra Bettina Funcke, Alexander Galán, Jeanne Graff, Joseph Grigely, Mark Harris, Rachel Harrison, Martin Hatebur, Lena Henke, Karl Holmqvist, Jonathan Horowitz, John Houck, Peter Huttinger, Ana Iwataki, Hadrien Jacquelet, Kai-Isaiah Jamal, Jenny Jaskey, Charlie Jeffery, Tony Just, Stefan Kalmár, Matt Keegan, Young Kim, Henning Kober, Agnieszka Kurant, Martin Laborde, Ann Lauterbach, Lykke Li, Massimiliano Locatelli, Jason Loebs, Vicki Mansoor, Karen Marta, Pierre-Alexandre Mateos & Charles Teyssou, Marie Matusz, Molly Caro May, Sarah McCrory, Ryan McNamara, Ingo Niermann, Hans Ulrich Obrist, Joel Otterson, Maureen Paley, Marco Paltrinieri, Riccardo Paratore, Philippe Parreno, Thymaya Payne, Baptiste Pinteaux, Gea Politi, Rob Pruitt, Asad Raza, Noushin Redjaian, Cédric Rivrain, Allen Ruppersberg, Ronnie Sassoon, Matt Saunders, Eric Shiner, Amy Sillman, Sue Spaid, Tommaso Speretta, Christabel Stewart, Michael Stipe, Davide Stucchi, Studio for Propositional Cinema, Emily Sundblad, Kate Sutton, Catherine Taft, Benjamin Thorel, Rirkrit Tiravanija, Nicolas Tremblay, Frederic Tuten, Philip Ursprung, Jill Van Epps, Marion Vasseur-Raluy, Philippe Vergne, Artie Vierkant, Amy Vogel, Claire Wilcox, Jake Wotherspoon, Mia Wotherspoon, Linda Yablonsky, Simon Zoric.
ONGOING Awayfinding for Casino Developers 2019 My secret name for the island—has the sound and gap between letters stretched too wide to be contained within the timespan of a business meeting; too wide to fit on their business documents.
REF Himawari-8 Slider
REF Himawari-8 Imagery—RAMMB
REF Himawari-8 Tropical West Pacific Imagery
REF WFO Guam Sectors
REF Exo-Wutip
GROUP Material Art Fair Mandujano/Cell & Field Projects. Feb 7-10, 2019. Frontón México, De La República 17, Col. Tabacalera, Del. Cuauhtémoc, CDMX, CP 06030. ARTISTS: Juan Capistran, Sid M. Duenas, Rochele Gomez, Hazel Mandujano, Alex Sanchez
REF Minagof Tinilaikan I Sakkan! February 5th, 2019
NOTES S., floating flatness, total field of images, excerpted appended distinctions (cf. baba, na'annok, huyong). Oct. 2018
FOUNDING F.G.E. Chinepchop, 2018
ONGOING Lodging recent events 2018 R. straightens into a stance that indicates the work day is complete. A fly loops just out of range. Where’s the dog with the hanging mouth. Pencils in a can with screwdrivers. Years before: a picnic taaable at beaaach, neaaarer to R. pressed into the sand, coals. R. pictures picnic chicken and titiyas on the taaable behind the store, then, neaaarer still, the swept wood of the floor at grandmother’s house in nearby island R. taaakes a few steps into the red mud, goes over to the tin house and opens the laaaundry maaachine R. shifts the towels from the unbalanced load back to even spinning weight, leaaans over aaand, in order to see the sides of the wasssher barrel better, pulls socks aaa little further out of the maaachine. Aaafter looking aaa little longer, R. realizes short breaaathing and remembers whaaat waaas saaaid the daaay before, faaarm aaarms close to R. light clothing, old haaands perspiring aaand aaas if motioning a fly aaaway from R. body, the recollection dropping like a fruit baaat behind aaa palm in aaa night of interrupted sleep—probaaably holding a sheet of paaaper between R. mango tree and old hands. R.mixes inward at the first glimmer of morning light on the shovel haaandle. Then in order to continue reaaading the paaage without straaaining R. eyes. R. blurry profile in full sun. In the gloss R. organizes R. appointments: consultations and treatments. The paaaper is mysteriously doubled, the size of the sheet of paaaper, aaand shows the creaaases where it haaas been collapsed into a curving, horizon over horizon over horizon. Then, holding the sheet in one haaand, R. raises a hankerchief to wave, moves toward the laundry machines (neaaar the palapala, aaagaaainst the cement column sepaaaraaating the gloss and the young plants) and sits down in front of the gloss from which R. removes another sheet of thin paaaper—similar to the first, empty again. R. invites an inter-island visitor into the house, then, aaafter aaa bead of sweat falls R. sits, the palms move. There is more to do tomorrow. R. leans with intention, pressing R. flat feet at edge of cement foundation in order to begin writing: Explosively flowered delimitations they were also linked to the global anti-colonial kind of type visible to a continuous landscape this initially subordinated what was in effect the structure of groups internal mounting of similar frameworks and respective subjections emancipation boom boom on the other hand to examine and question old concepts complete perception though it may not be obvious would have a major impact on the first phenomena. In the long run the special contribution to explosively flowered delimitations they were also linked to the global anti-colonial visible to another landscape this initially subordinated boom boom boom what was in effect the structure of groups internal mounting of similar frameworks and respective subjections background to emancipation on the ambient hand to complete is such an ill-distribution of perception though it may not be obvious would have a major impact on the first phenomena. Non-discourse on viewers absent and boom leading no-presence form on departure of viewer-reader not getting exposed in material events like an abstract painting unfolding may be a thing playing parentheses speech or even that is not easily recognizable or great whole mysterious joining with a boundary in frequent discussions or mysterious if you were can see a natural occurrence and appreciated and I completely understand it. Taking away the definite article to the world as anti-songi making a leap. baba-writing non-writing may have done wonders in giving the absent presence the notion in terms however admitting counter-movement rather than poses the following limitation should have been so imaginative power the possibility of making visible on who’s terms must be fitted into the pool the symbology in completely different attempt at non-poetry to unfix the similar level of a songi psyche that both left pushing western thought viewed by any strong case refused for some kind another landscape can provide us with the answer to the range across diaspora. In turn to the failure complete multilayer soundbeds of repeating and emerging over that of the other since in the case of the latter as the global issue had also allow the kindest portrait to market their release their mistaken group could unfold the possibilities where it was at that moment a critique of the critique to open the possibility of what a position confusing the idea because the form may work as praxis pessimism boom boom boom emerging fixing impact and capacity and fascination to a specific and general act-form-territory. To fix oneself fixing against the erosion of two directions of increasing capacity and the other direction toward as far as hands and feet can reach because within the close elongating air borrowing confines of historical reality of taking life out of ultimately the universe articulating will and the not working out of long question for instance return the shifting tides but writings over here like a chief example of the non-obvious.
EVENT Anineng expands to mother August 28, 2018 Speaking, unfamiliar sounds: a list for "Where are you from?" Names after names from the past, coupled with place. And then finishing with "my mom was made pregnant by a shadow."
ONGOING Awayfinding 2018 My secret name for the island—cannot be apprehended, possessed or taken.
AWARDS Manang Spirit Prize August 10, 2018. Please sit, InspacespacespaceFrom night. We are not InnightnightnightFrom darkness enough! TothreepersonthirdpersonpowerpowerpowerIn first-light-still-&-rapid. Please talisay (or almonds) in pocket this familial ceremony-&-enabling grant commemorate darkdarkdarkspacespacespace and beginnings
ONGOING H.—Shadowing 2018 "In this piece I now write and you now read, as in Adami's Concerto a quattro mani, lines also separate." H.They separate writing that is superimposed, hidden conjectured as written, erased, painted over H.in this painting and this drawing of Adami. In other words, this writing, these lines here, I project, would be a subjectile of Adami's painting: the support, neither subject nor object, and the untranslatable of painting. Subjectile: according to the Oxford English Dictionary (OED, 1st ed.): "Of material: Adapted to receive a 'subject' or picture . . . A material on which a painting or engraving is made." The citations, from 1859 and 1881, contain a reference to printing: " 'The previous modes of printing in which the ink is contained in incisions . . . or upon reliefs . . . and transferred thence to the paper or other subjectile material by pressure.' " In "Forcener le subjectile," on the subjectile Artaud (not simply on the subjectile of Artaud; not simply on what, according to Artaud, "is called the subjectile"; not simply on Artaud, his works, sketches, and his paintings as subjects or objects, what he himself does not describe; not simply on the subjectile of subjectile; but also the invention of an "idiom"; and the "casting [jeterl" of a "signature otherwise"), Derrida explains that the "notion"; of subjectile "belongs to the code of painting and H. designates what is in a way lying below (sub-jectum) as a substance, a subject, or a succubus." H. More precisely, the subjectile, "between the below and the above," is "at once a support and a surface, sometimes also the material of a painting or a sculpture, everything in them that would be distinguished from the form, as much as from the sense and the representation, what is not representable. Its presumed depth or thickness shows only a surface, that of the wall or of wood, but already that of paper, textile, panel. A kind of skin, pierced with pores." H.The lines here separate what might also be designated H., following Adami, as an aide-mémoire of Concerto a quattro mani, a series of memoranda addressed as an aid to memory, possibly a series of crib sheets H. "buried" H.on the painting."
"Sketch: Counterpoints of the Eye: Hand-Eye Coordination: Translation and . . . " by John P. Leavey, Jr. (190)

NOTES Ceramic cousining 2018. Taotao: Hafa Adai Brown / Marianas Red
ONGOING Bad Reception—Of Notes 2018. DOUBLE at top of field VISION at bottom FIELD in field and broken by window. Line out to EXTRACTION in an extraction from field.
ONGOING Knots—Shadowing 2018
KNOTS cast across—repeated—diagonally through: "The blurb on the back cover of New American Story asserts that "Robert Creeley's protagonists are caught in the exacerbated sensibilities of their own minds." This is true. Creeley's tales tend to have been given rise to by certain KNOTS of sensibility. Such knots, in any event, seem to be what they're about. Which is not to say that any definite sense of issue or "plot" tends to emerge, even given the phrase "knots of sensibility" as an abiding malaise. Creeley has repeatedly warned against too easy an assumption of what the word subject entails: "I find myself increasingly less able to explain why it is that I write something. I have no sense of subject more than some elemental one concerned with the need for distinction and the fact we are all alive. The story, as it were, comes with its own occasion, and orders me as much as I may it." Or as the male speaker puts it at the beginning of "In the Summer": "I am not saying that it was ever to the point or that a purpose could be so neatly and unopposedly defined. Or that twenty-one or so years ago, on that day, or on this, he was then, or is now, there or here, that we could know him and see him to be what he is. I don't much care for the that: (GD, 75). Some such disavowal of "subject" allows an indeterminacy to dictate what courses the tales might take: The story has no time finally. Or it hasn't here. Its shape, if form can be so thought of, is a sphere, an egg of obdurate kind. The only possible reason for its existence is that it has, in itself, the fact of reality and the pressure. There, in short, is its form—no matter how random and broken that will seem. The old assumptions of beginning and end—those very neat assertions—have fallen away completely . . . (GD, 7) This indeterminacy, the randomness or brokenness of the world it seeks to disclose, is what aggravates or "knots" the protagonists' minds." (Mackey, Discrepant Engagement, pg 110-111)
GROUP Radiant Big City Forum celebrates Summer Solstice curated by Leonardo Bravo. Saturday, June 23, 2018
Go! girl! Dude! Short u not sung Go! boy! Boy said shortly boy Children out from under a palapala Listening adults Listening children to parked pick-up The group is here to carry One maxed at a 12 pack Thank you.
songi self in caps see songi self of lingering moldy bananas air out in dry state armpits bellies absorb shirts humid time zone truth in sweat reconstituted day ahead self songi self shift uncap desert nose. misaligned breath at center of what has been forgotten impacting consciousness through the reformation of language corrosion burning and blaze it stand in as the absent referent poem history.
Two durations divided by Earth curve:
Framed or margined moment stacks in solstice positioned and displayed with linger text: Lunar I. M. Orange I. S. Green Flash Long Horizon “corroded” on wall. Margined stacks are 8.5 x 11 boards that are prints transferred from pages of a home digital file. The home file consists of poems. Divide here. A selection of prints (xerox transfer on pulp board) are glued into a short stack. A brass frame is attached to the face of the stack, and mounted on the wall. Linger text burned to wall. Two durations divided by Earth curve.
The day ahead:
Radiant to (underline) light to (underline) to sun to (underlined) uncle’s lesson on island to (cross-out) the (cross-out) green flash along ocean horizon: (line in) the (cross-out) the short moment when (cross-out) when—on a cloudless day—the sun (on top of cloudless day) descends below the ocean (below the) horizon (below horizon) and a green spark (under green) extends outward and across the water. To heat to (underline) burn to (underline) corrosion to (underline) Songi Self. Songi (Chamoru): to burn. I am home. Corrosive (cross-out) Distance (underline) burning (line-out) to (underline) I am far from home.

ONGOING Event Stack 2018.
Fold At Star
Hand Star
Green as Horizon
Combo Green
Night Drop
Star Plot
Sphere Margin
Corrosion Transfer
AWARDS Rosa Reyes Duenas Spirit Prize May 30th, 2018. Please sit, InspacespacespaceFrom night. We are not InnightnightnightFrom darkness enough! TothreepersonthirdpersonpowerpowerpowerIn first-light-still-&-rapid. Please talisay (or almonds) in pocket this familial ceremony-&-enabling grant commemorate darkdarkdarkspacespacespace and beginnings
ONGOING Anineng Press. Anineng, California 2018 Underline the following: The New Precise, New Exact Complete Shadow. [line extending, at limit: J. R. D.]. Introducing! The New Precise, New Exact Complete Shadow. Add forged J. R. D.
ONGOING Waving Piece (SSSSSSSS) 2018 with blank-self-capable-of-fusing, with outer-centered ghostliness, with projective horizoning ("This might be time to put on our 3D glasses." E.H.), with flash emergence in relation to corrosion/songi self, the smoke eraser. "Can you see the island?" (M.P.)
NEWS WWII Litter (Grenade) Found by Fisherman Plus Obsequious Reporter Creates Nimbus for EOD Technician
SOLO Oil I.O. Flower I.A. Opening Sat. April 7th, 2018 at mandujano/cell (Hazel Mandujano & Juan Capistran) 171 N. La Brea, #204, Inglewood 90301. Hours: Sat. 12-6pm and by appointment
NEWS Okeanos Marianas sails to Sarigan and Anatahan
REF Input highlight: peak-shadowing shadows
REF Input highlight: peak-shadowing: "budweiser" appears only once in entire book
GROUP Fresh Start January 14th-February 25th, 2018 at LAVA Projects. Curated by Colin Roberts
PUBLICATION Absolute Humidity A report on artistic practices and the weather in the Asia Pacific region. CONTRIBUTORS Alfredo and Isabel Aquilizan, Angela Tiatia, Ayesha Jatoi, Bahar Behbahani, Bonita Ely, Brenda L. Croft, Brian Robinson, Chantal Fraser, Drew Kahuaina Broderick, Elisa Jane Carmichael, Gulf Labor, Hitman Gurung, Ho Rui An, Joy Enomoto, Karrabing Film Collective, Lantian Xie, Leuli Mazyar Luna'i Eshraghi, Liu Yujia, Lucreccia Quintanilla, MAP Office, Okin Collective, Prasad Shetty, Raqs Media Collective, Ravi Agarwal, Rirkrit Tiravanija, Rupali Gupte, Sid M. Duenas, Sheelasha Rajbhandari, Taloi Havini, Tintin Wulia, Tita Salina, Trevor Yeung, Tuan Andrew Nguyen, Zheng Bo. PEER REVIEW Katina Davidson, Kittima Chareeprasit, Léuli Mazyar Luna’i Eshraghi, Mariam Arcilla, Olivia Chow, Renan Laruan. EDITOR Tess Maunder. PUBLISHER Lobregat Balaguer. GRAPHIC DESIGN Kristian Henson. COPY EDITOR Evie Franzidis and Sarah Gory
GROUP Featured artist in Art in Hawai'i, December 25th-29th, 2017. Curated by Jane Chang Mi
GUEST LECTURER Art and Nuclear Technology, Destruction, and Contamination Seminar, Instructor: Dr. Rika Hiro November 16, 2017 University of Southern California
REF Okeanos Marianas
REF Peak-shadow: imagining talking at minute 2:15 in Fish Story, 1965
REF 4th National Climate Assessment Town Hall for Hawai‘i and Pacific Islands Region
REF Sacred Vessels: Navigating Tradition and Identity in Micronesia Part 2 of 2
REF Voyaging for Anti-Colonial Recovery: Austronesian Seafaring, Archipelagic Rethinking, and the Re-mapping of Indigeneity by Vicente M. Diaz
REF Sniffing Oceania's Behind by Vincente M. Diaz
GROUP/SCREENING Asian Mamas Working in the Arts—Film Series 01 July 20, 2017 Echo Park Film Center
GROUP 'Ae Kai Culture Lab on Convergence July 7-9, 2017 Former site of Foodland at Ala Moana, Honolulu, Hawai'i
GROUP/SCREENING Asian Mamas Working in the Arts—Film Series 01 June 16, 2017 Los Angeles Contemporary Archives
REF Input highlight: no one remembers everything to twilight memories
REF Input highlight: woven flesh
TEXT Call and Response (Changing title: 2010 to now) by Brian Fuata April 2017
GROUP Reconstitution April 23 to May 27, 2017 LAXART. Curated by Hamza Walker and Catherine Taft
TEXT Open Loop for "Some Phrases", exhibition by Lee Relvas April 13 - May 21, 2017 CALLICOON NYC Curving along a section, shifting gradually to an edge. Skimming and right away off! Focus is stalled midway between things I might see. Other things emerge from the pause in motor control. The open room mixes, several recollections at once, and persons within persons playing in a semi-documentary. Each actor experiences change yet no one knows who they belong to. Big city urgency pierces the shortened focal bubble. Return to the edge. Coarse to fine, points in a line.
Up a bend, divisions to a facet, knowing that there are many more. An eyelid snap. Shift, shift the eyeball. Snap. That barely noticeable interruption of light. Go facet to taper. Bend, and flat again. Splitting, then singular all over again like yes and none. Blink.
Sand and hardness scraping the diving momentum against a body. Floating particles bound by the shallow, watery layer on an iris.
The tight rope walker movie may have triggered vertigo. I drooped towards my left where the spinning was heaviest. Around 10 pm. I apologized profusely to my neighbor. “Could you take me to the hospital?” Dizzy and teetering. It was someone else’s steps that shook the floor.
At center, from pose I imagine circles. Each band, tight and touching, a vision as solid as air, and extending beyond the floor and past the walls: tracks for charting movement. I am a wiggly line, both congruent and perpendicular, and producing curves. It’s fun here. Curving and animating. Stretching ratios, shortening dimensions, inverting depths in a single ray. I moisten my eyes, inhale, I think. And the rays reset at each point along the tracks.
From another pose, and another. I imagine intersections at circles. Each band, dense and touching, a vision as solid as air. But now inward, toward and away. At perpendicularity, there it is again, animation. Stretching, shortening, upside-downing in a ray. Blinking, exhaling. I wonder about what I missed. And the rays reset.
A concave space below the top of a head. This time an arm. Back to head, a wooden enclosure. The framed view just misses the windowpane and the things outside. I expect to see a bird, red like lipstick. There are other movements. The limits of the spherical lens touch a corner. Wall into floor. There may not be dust but the mind completes any inquiries.
Waves on piled rocks. The inside of my nose is wet. Someone mentioned that the place is more than just a fishpond. The opening to deeper sea is described as a navel and the expanse of these bodies is completed with my intestines.
Open loop

REF Operation Hardtack I
REF Of Drowning in To and From—Ocean: "Decline in global oceanic oxygen content during the past five decades"
REF Simple Cylindrical Supports to Columns to Plumes: "Broad plumes rooted at the base of the Earth's mantle beneath major hotspots"
REF Bioaccumulation of persistent organic pollutants in the deepest ocean fauna
REF Lodged-dislodged: "Blue History"
GROUP Between Words and Silence: The Work of Translation.January 29, 2017 to April 2, 2017 ARMORY CENTER FOR THE ARTS Curated by Irene Tsatsos with Daniela Lieja. ARTISTS: Antena, Federico Gama, Daniel Guzmán and Luis Felipe Ortega, Naotaka Hiro and Sid M. Duenas, Jota Izquierdo, Sarah Minter, Lorena Mal, Gala Porras-Kim, Clarissa Tossin
NEWS Lodged Peak: 500 lb. bomb
NEWS Bleeding as Agency: Agent Orange
SOLO Cherry-ree at ARTIST CURATED PROJECTS January 15, 2017
ry ree
same sound
and distant
drawn together
they echo
especially when Ofeng says
becomes void

REF Burning Ships In Saipan Area, August 1944
REF Ash, smoke, gravity, lightness, air, dispersion, placement, embedding, lodging, distinctions, convergence, sponging, agency, edges, peaks, arcs, rims, rings, bulbs, light emission, digital imagery, machine vision, zooming, extraction, memory, diaspora . . .
REF Seismogram of banded tremor associated with intermittent Pagan ash emissions. Recorded on station PAGV, 12 June 1993
REF Cultural Rupture and Indigeneity: The Challenge of (Re)visioning “Place” in the Pacific, David Welchman Gegeo
REF "L(o)osing the Edge" (2001) The Contemporary Pacific, Volume 13, Number 2, Fall 2001, pp. 343-365
"Where is the edge in the Pacific? Is it on a beach—à la Greg Dening? (1988). Is it on the horizon as Joakim Peter suggests? (2001). Is it on Vince Diaz’s tectonic plates? (1996). Is it on the rim? From the islands it looks as if everything that’s worth having or doing is in Los Angeles, Seattle, Vancouver, perhaps in Honolulu, maybe in Brisbane, certainly in Sydney, undoubtedly in Auckland. All the hip cool happenings are on the edge of the Pacific. From the edge, the islands look restricting. Look backward. Look embarrassing. Like FOB (fresh off the boat) or FOP. From the edge you can take what you want from the islands—the colors, the food, the memories. You can leave what you don’t want behind—the politics, the problems, the obligations. From the edge, the islands can sometimes look liberating. Look exciting. Look promising. Like Fiji. Or the Solomons. From the edge you can see what you want to see in the islands—the heroes, the rebels, the freedom fighters . You can close your eyes to whatever you don’t want to see—the jaded businesspeople, frustrated politicians, hopelessly unemployed men. Is the edge always held at the edges of the Pacific? Is it possible to have an edge in the world’s largest ocean? Epeli Hau‘ofa says our edge is the ocean (Waddell, Naidu, and Hau‘ofa 1993). No other people have had their history shaped so much by an ocean. The islands of Kiribati and Tuvalu may not exist in thirty years’ time. The ocean has the edge."
NEWS Tinian: "We believed in America"
NEWS Bikini was just the beginning, bombs still threaten the islanders
RESIDENCY "Beta Cherry" at Beta Main, Los Angeles 2016. Director: Allison Agsten.
GROUP "Untitled (A MENSA Halloween)" Thursday October 29-30, 2016 at 621 S ANDERSON ST 3E. A group show dedicated to Larry Johnson's "Untitled (A MENSA Halloween), 1993 Curated by George Egerton-Warburton. Works by Daniel Aloisio, Sid M. Duenas, Lauren Davis Fisher, George Egerton-Warburton, Brian Fuata, Monica's Gallery, Helen Johnson, Bryan Morello, Rowan Oliver
REF Abelam Yam Ceremonies—Lecture by Ludovic Coupaye
FOCUS Completion of online course on Pacific Studies from Oceania Centre for Arts, Culture & Pacific Studies, University of the South Pacific, Suva, Fiji, 2016. (Lecture by Teresia Teaiwa)
PUBLICATION Nerve Ending Poem Forms of Education: I Couldn’t Get a Sense of It, INCA Press
NEWS The battle continues, 50 years after first test at Mururoa
NEWS Radiation on island exceeds safety standards nearly 60 years after nuclear tests
SOLO Ti Terror Thursday June 9, 2016 at SAFE SPACE
Ti is a negative marker in Chamoru that means not. Ti usually converts an entire positive clause to a negative: Siña hit manhanao pa’go. => Ti siña hit manhanao pa’go. / We can go now. => We can’t go now. The exhibition title constitutes the qualification of a thing and a negation of it. It is a process of support and refusal that was employed in the construction of the works on display. The word Terror is a placeholder; lodged within a space and susceptible to invasion by other words.
NEWS Military officials to tour Tinian
NEWS Defense bill with NMI provisions passes US House
NEWS NMI consultants: Military not above the law; draft EIS not in compliance with law
REF The New Oceania. Narrated by Albert Wendt. Produced and Directed by Shirley Horrocks. Point of View Productions 2005
REF A “Voice to Sing”: Rongelapese Musical Activism and the Production of Nuclear Knowledge Jessica A. Schwartz

In water the following may be inverted. practical contact with, and observation {study, blank, blank} practical contact with, and observation {blank, reading, blank} practical contact with, and observation {blank, blank, story/conversation} (arrow down towards "the")—the—result is a peak (arrow out to "Peak") that consists of durations—sequences of events . . .—Peak—imagined as dimensional, and may be modeled as topography . . . an extraction from a totality e.g. words, text bodies, constructs. There is loss synthesis, atomic light, embeddedness (¬economic sociology), distance/zooming, margin distortion. And there is much that is not visible. There is no freedom absent of structure, or expressivity, instead there is concealment as a means for forgetfulness. Still, within the parameter of the duration (object-babarias) is temporary access. Viewer accessibility is limited by time and proximity to the human (line out to "Aninengness"), the secondary source of story. (incised and placed elsewhere)—Aninengness—reserved for self-identification by an unseen subject. The Anineng's ghost story. And pictures: pictures out of sight: sight below the horizon but read: read in your language: language stretched outward in search.