911 Prep - Artists at work

[rachel]

@napoleon, you know what is both my strength and weakness on this subject. I know close to nothing about it. My starting reason for spending any time on it is because Ab says this is the reason he set up Fakeologist, so I felt I should at least add a bit to the discussion.

I guess I like looking at the pre-destruction pictures and trying to think why the building was built so tall in the first place. That was one of the internal questions I had in my head when I was there and the guide was going through his script about different lifts going to different floors, and that could mean waiting for two lifts to get to your office. What a nightmare, you could waste half your lunch break to get out and back in to your desk. And then when I saw Aaron Dover's NO FLOORS video. Oh yes, Suddenly I thought of UFO.



If you remember the series, Shado was an alien defence organisation in plain sight disguised as a film studio. And to have a robust cover, they did actually make films. So to me, there probably was a small section of office space for big name Banks in at least one of the buildings. But I think at least part of both buildings was a vertical test facility, one having a longer drop than the other. I don't discount the electrical side, and I like the tunnel idea to Building 7.

[napoleon]

the good thing is star wars has all the schematics for it's psi fi ,and once the 911 allegory was spotted and de-psi-phered ,all the major parts of 911 have a counterpart - opEc=c3po human cyborg relations,oil is controlled by opec oil controllers could be described as human cyborg relations, its a stretch but the names an inversion ,

and he is a goldman in a sack in empire strikes back

you see star wars originally an earth story major event on earth ,told through an aliens point of view .same as crowley channeling of an aliens teaching ,so lucas used the term whills as does crowley's do what thou will

you and rick could do a show he as a child was a massive fan of u.f.o.

https://fakeologist.com/blog/2022/03/01 ... exoterick/

think this is the audio where he talks of the t.v. station or film unit as cover for a space defence.
they should remake u.f.o and use celebrities spoofing themselves like extra's gervais did.

but the allegory for 911 collapse is called the kessel run in star wars kessel -cas-ul lu-cas- 12 parsecs.

it is 911 and vice versa

[napoleon]

as above so below literally,heres a hero from911 the red bandanna man welles crowther
“They didn’t know his name. They didn’t know where he came from. But they knew their lives had been saved by the man in the red bandana. sounds like abaddan or “Apollyon” (Greek: ????????, Apollý?n) appear in the Bible as both a place of destruction and an archangel of the abyss. In the Hebrew Bible, abaddon is used with reference to a bottomless pit,His mother was joined on stage by Ling Young, one of the people Welles Crowther our hero led to safety. lucas apollyon vader abaddon killed younglings(children) children under the masonic magic spell are referred to as jung-lings
welles crowther he was the angel of the abyss and saved ling young,i shit you not
both had the same birthday of course they are counterparts ,which unsurprisingly was star wars premier may 1977
red bandanna man ,he,s abbaddon ,and abaddon saved people like welles did in stars lore.

i think the schema for the collapse of the twin towers is genius , the kessel run, lucas run lu-cas reverse cas-ul run , 12 par secs is a unit of time which is apt as the controlled demolition was a certain amount of time that needed, to be disguised with the i.lm. collapse , lucas never made a mistake thinking a par sec was a unit of distance,so everyone who thinks this is wrong ,ok ,ok ,thats all star wars fans by the way
just part of the private joke-r
Han Solo, piloting the Millennium Falcon, made the infamous cas-ul run)KESSEL) in slightly under 12 parsecs,allegory ! for the collapse

lucas would not mistake what time and distance are



if i was finding judy wood,s co pilot knowing the schema,or the psi-pher being oz or star wars

fiction has to come from somewhere ,and we do have a source inversion,cosmism,crowley,liber oz and wizard of oz,new york and of course the stars.

,what would hutchenson look like,well thats simple isnt it han solo,s copilot was chewbacca ,and dorothys copilot was toto ,so then its a mix of these, lets take a look

[rachel]

Strange framed dummy people inside WTC building

Strange framed dummy people outside WTC building

It's interesting how the dummies fit the frames they are standing in, compare this with the people in the second and third grab standing in the windows from the E-team video (see first post).

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(I've realised I've messed up your posting wanting to put this up @napoleon)

[rachel]

On the subject of the E-Team, I found this interesting piece. Was the art really lost?

https://www.ifar.org/nineeleven/911_residency1.htm

September 11th:
ART LOSS, DAMAGE, AND REPERCUSSIONS
Proceedings of an IFAR Symposium on February 28, 2002

The Artist Residency Program in the Twin Towers

by Moukhtar Kocache

[Moukhtar Kocache is Director of Visual & Media Arts, Lower Manhattan Cultural Council (LMCC). The LMCC administered two artist studio programs in the North Tower of the World Trade Center (World Views and Studioscape) in space temporarily vacant and donated by the Port Authority of NY & NJ, with support from a number of corporations, foundations and government agencies. The studios and several hundred works of art were destroyed on 9/11. One artist-in-residence, Michael Richards, was killed. LMCC's offices at the World Trade Center were also destroyed, along with 30 years of archives and approximately 150 works of art.]

I feel like the representative of "unofficial" art at this Symposium, not only because of the nature and the value of the art that I will talk about, but also because of the context and framework in which it was made. In fact, what I would like to do tonight is reexamine or, perhaps, expand our notions of loss or what was lost on September 11th, and in so doing, explore our notions of what the purpose of art is; its value, or its use. What is cultural production? What is visual culture? What is an artist? Who is an artist? What is an art experience? I will try to do that by illustrating some of the projects that were executed during the Lower Manhattan Cultural Council's (LMCC) artist residency program in the WTC.

The program was initiated four years ago and provided emerging artists with studio space on the 91st and 92nd floors of the North Tower. Artists worked in painting, sculpture, new media, photography, and art installation and were selected by a jury for residencies that lasted six months. At the end of each six-month period, the studios were opened to the public. Thousands of people came to the Open Studios each year. The LMCC also organized public performances in the large plaza of the Trade Center for thousands of audience members. . . a venue often noted as one of the city's most democratic public spaces.

I'd like to focus initially on what was lost in terms of the Towers themselves—the architecture, the icons, and, for us, the "subjects" for over one hundred and fifty artists and cultural workers and producers. Slowly, I will highlight what has been lost in terms of opportunities, possibilities, context, and a whole world of references in the form of visual but also conceptual and political material. You have to remember that we did not go to work every day into the buildings simply because our offices and studios happened to be there, but precisely because they were located in the Twin Towers and our desire was to analyze them from within. Let me start for instance with Martina Gecelli, who in the year 2000, photographed abandoned office spaces at the Trade Center that were left in complete disrepair. For Martina, the architecture, the space, and the psychology of the space became her subject matter (Fig. I).

A project by the E-Team, a performance art group, also dealt with the building itself. In Quick Click, the E-Team attempted to make photographic portraits of people in the studio from a helicopter that was hovering outside the building. Two members of the E-Team were in the helicopter, another in the studio space, and people were lined up along the windows to have their portraits taken. In another project (127 Illuminated Windows), the E-Team attempted to write their names on the exterior of the Towers themselves (Fig. 2).

Figure 1. Martina Geccelli. Suite 4047 Long View Table-Sink, 2000. 120 x 100cm. Photo: LMCC

Figure 2. E-Team (Hajoe Moderegger,
Franziska, Lamprecht, Dan Seiple).
127 Illuminated Windows.
The appearance as it was supposed to be on the World Trade Center. New York, March 2001. Photo: LMCC

https://www.ifar.org/nineeleven/911_residency2.htm

The Artist Residency Program in the Twin Towers, page 2

by Moukhtar Kocache

Many other projects dealt with the specificity of the Trade Center site. In a performance entitled The Land of Far Beyond, Susan Kelly embarked on a pilgrimage up the staircase from the first floor to the 91st floor. For My America (I am Still Here), Emily Jacir documented purchases from every store of the Trade Center, which revealed the mechanics of power in global trade and production. Taketo Shimada envisioned a project on the escalator steps entitled Meeting, for which he would write poetry on the escalator steps describing a love affair that arises after a chance meeting.

Kevin and Jennifer McCoy, new media artists, created a fictive company called Airworld, which, eerily, has a logo of two airplanes, flying in each other's directions and joined at the wings. Their company Web site had absurd advertising banners that critiqued the sterile language used by corporate America. One banner read Safe Ascent, another, Welcome We Are Air. During their residency the McCoy's also broadcast from their studios an FM radio signal that you could hear if you were driving on the West Side Highway.

Another important loss on 9/11 was access to the views, this particular vantage point on the city. These views and that particular vision of the city, its topography and geological profile provided a unique opportunity for individuals, whether at work in their offices, visiting the observation deck or dancing at Windows on the World. Subject matter for numerous paintings created in the residency programs, such as Joellyn Duesberry's Cloud Over Mid-Town Brooklyn and Manhattan and Sonya Sklaroff's WTC Series, these views of the city were also central to many sculptural, installation, or performance-based projects. Matthew Bakkom, in 1 WTC Cinema, explored issues relating to the building, the city, and architecture in film screenings that were open to the public. It was a beautiful experience to watch cinema and art films with the skyline of New York City visible through the windows. For Picture Motion, Douglas Ross installed motorized blinds on the windows, which, in a darkened room, created a stroboscopic effect—the city looked like a film projected in slow motion. The last work that was produced in the WTC studios, on September 4th, was a project by Naomi Ben Shahar. She invited her friends to a party and provided everyone with headlamps. The room was covered with mylar so the city lights and the movement of the partygoers intermixed in a sort of a liquid, reflective environment.

Countless projects were destroyed. Micki Watanabe's, Floorplan Collage: WTC 91st floor and 15 Park Ave. A project by Christyian Nguyen referencing the Asian panel landscape painting tradition, A Thousand Peaks and Myriad Ravines, had been installed in the Port Authority's offices (Fig. 3). Jeff Konigsberg's untitled work in progress that he had worked on for four months—carving, painting, peeling—creating an incredible three-dimensional experience out of dry-wall. Simon Aldridge's minimalist wall sculptures that reference skateboard and BMX structures, and Hot Fun in the Summertime, a piece which illustrated his struggle in rendering the towers as light structures that emphasized verticality but at the same time allowed light to come in and reflection to take place.

Just a week before the attacks, Justine Cooper moved all of her work from the past two years to the WTC studio. Everything was stored there during the attack, including her three-dimensional luminous sculptures of gene sequences, a sculptural MRI of her hands, and numerous photographs from electron microscopes (Fig. 4). Kara Hammond also lost many, many paintings and drawings. Again, she had stored some of her work from the past two years in the studio, including Showroom Floor, Voskhod Interior, and Concrete Warehouse (Fig. 5).

Figure 3. Christian Nguyen. A Thousand Peaks and Myriad Ravines, 2000. Drywall and studs. 180" x 85". Photo: LMCC

Figure 4. Justine Cooper. Lamine,1999.
ACE gene sequence, film, acrylic, stainless steel, halogen. Ht:96". W:8". (Base 14" W) Photo: LMCC

Figure 5. Kara Hammond. Showroom Floor, 1998.
Oil on wood. 24" x 48" Photo:LMCC

I was interested to look up this Moukhtar Kocache, get a feel for who he is.

https://www.centerforthehumanities.org/ ... ar-kocache

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Moukhtar Kocache has expertise in philanthropy, cultural and civil society development and curatorial practice. Born in Beirut, he was raised in Paris and spent fifteen years in Washington DC and New York, and eight years in Cairo. He currently divides his time between New York, Paris and Istanbul. From 2004 to 2012 he was Program Officer at the Ford Foundation's regional office in Cairo. During his tenure there he worked mainly on the development and sustainability of arts and culture spaces, networks and service infrastructure. His grant-making supported small to mid-sized organizations and focuses on creativity, discourse, arts education and cultural development in Egypt, the Occupied Palestinian Territories and Lebanon with some programming in the Middle East and North Africa (MENA) region.

Figures... A grift?

[rachel]

FFS, more from this guy...

https://philanthropynewsdigest.org/feat ... cache-psjp

Moukhtar Kocache, Author, 'Framing the Discourse, Advancing the Work: Philanthropy at the Nexus of Peace and Social Justice and Arts and Culture'

November 5, 2014 -- By Kyoko Uchida

Earlier this year, the Working Group on Philanthropy for Social Justice and Peace issued a report, Framing the Discourse, Advancing the Work: Philanthropy at the Nexus of Peace and Social Justice and Arts and Culture, that highlighted the synergy between the arts and social movements around the globe — and the general reluctance among funders to fund arts initiatives with a social justice component, and vice versa.

Recently, PND spoke with Moukhtar Kocache, the report's author, about some of the challenges foundations face in funding "social-change-through-arts" initiatives and what can be done to change the existing dynamic. Kocache is an independent civil society, nonprofit, and philanthropy consultant whose areas of expertise include arts and culture, media, gender equity, social justice, and cultural activism and change. From 2004 to 2012, he was a program officer in media, arts, and culture at the Ford Foundation.

Philanthropy News Digest: What are the arts uniquely able to do in situations where liberties have been eroded and freedoms suppressed that more traditional advocacy activities are unable to accomplish?

Moukhtar Kocache: The arts are ubiquitous wherever human beings come together in common cause. I have yet to see, in our own time, a social movement that did not sing, dance, paint, make theater, and record its activities. The arts are closely associated with our notions of identity, self-determination, and healing. The challenge is how to develop the strategies, mechanisms, and tools needed to get to the next level, the level at which targeted interventions that amplify the role of the arts in social change processes are conceived and implemented. So, rather than ask what the arts can do that traditional advocacy can't, I would suggest thinking about questions such as, What forms of art are most suited for a particular type of social change cause? And at what stage and through what process can the arts help people coalesce around and amplify their response to a specific social issue or reality?

Today, artistic creation and artistic processes are extremely responsive to the challenges confronting all of us as citizens of a global village; rarely these days do we see art that does not, in some way, address a social or political issue that resonates with a broader constituency. Indeed, the arts often play a role before, during, and after periods of social change, informing and galvanizing communities and even societies through the various stages of social transformation. So, it's important to think more broadly about how we as a society understand the realm of art, because that will help us tailor and design social interventions with more nuance and precision.

Consider, for instance: civil rights-era protest songs; an artist-organized campaign to shut down a supermax prison; young women learning to make and screen short films about their marginalized role in society; a community working with artists and architects to redesign and rehabilitate public housing; victims and perpetrators of genocide engaged in making theatre together; children creating art in refugee camps; and so on. It's a short list, but it demonstrates how diverse activities that fall under the rubric of "art" can be, and how, at various times and through specific mechanisms, these activities help communities to heal, feel proud, build social cohesion, create new narratives, and mobilize for or against an issue.

PND: You write in the report that, despite growing interest in "the symbiotic relationship between art, self-determination, cultural democracy and social justice," arts funders and social justice funders remain reluctant to support "social-change-through-arts" initiatives. What are the reasons for that reluctance?

MK: Arts funders would say, "We do not fund social change," while social justice funders would say, "We don't fund the arts." But this binary dynamic has meant that a wealth of learning and opportunities for impact has been missed and that a lot of grassroots creativity in marginalized communities is not being harnessed for social change. Part of the problem has to do with limited resources and capacity at the funder level where, for many grantmakers, supporting something new often is seen as too experimental, too risky, and/or a distraction from more "serious" and conventional funding strategies. Foundation staff also tend to feel ill equipped to venture into fields where they have little expertise, even though most people understand, at both a visceral and intellectual level, the power of the synergy between the two types of funding. I believe, however, that with time, foundations will become more versed in both the arts and social justice traditions, and that that will lead to more knowledge and a greater willingness to experiment among funders on either side of the funding divide we are talking about.

PND: In your experience, what do funders tend to prioritize when the artistic and social justice elements of a project collide?

MK: Increasingly, funders are constrained by shorter funding cycles and both internal and external pressures to show tangible results. In general, we are seeing less willingness among foundations to fund movement-building, process-oriented work that aims to change cultural values; this is true both for social justice and for arts funders. But this type of work, which is crucial in terms of building momentum at the grassroots level and driving more permanent, systemic change, requires long-term funding and a certain willingness to tolerate risk.

Unfortunately, when the artistic component of a project is described by grantseekers or understood by funders as being separate from the goals of a social change initiative, it often is sacrificed to the more "essential" elements of that initiative. In such cases, the arts are typically seen as little more than a messaging or branding tool and not as a rich font of knowledge with its own set of practices, processes, and strategies that can help shape our conception of and scenarios for social change.

PND: One challenge the report highlights is the lack of metrics to assess the extent to which an arts initiative contributes to social change. As the philanthropic sector becomes more data-driven and measurement-focused, are you worried that the difficulty of measuring the impact of the arts will cause funders to look elsewhere?

MK: The arts sector needs to develop its own methods and mechanisms to help assess and evaluate its activities and outputs. When a sector does not develop its own metrics, it can expect to have other standards and methodologies imposed on it. Although I have philosophical and political reservations about measurement-driven evaluation and program design, it goes without saying that we, as a field, need to do a better job of illustrating, demonstrating, and conveying the impact of the work we do. It's a challenge for many fields, but arts and culture have been shielded and excused from having to come to terms with data-driven and measurement-focused evaluation systems. Now, I'm not saying we should be talking about a single system to measure our impact; in fact, it's imperative that we create evaluation methodologies that address the range of activities, functions, and forms that fall under the umbrella of the "arts." But professionals in the field need to lead this process, and they need to learn from other fields that are farther down the evaluation road. Everything is measurable and can be quantified; it's a matter of embedding an evaluation framework that makes sense into the project from its earliest stages and integrating the framework into your overall strategy.

PND: How should funders rethink their engagement with initiatives that advance social change and the arts?

MK: It's essential for funders to understand that there is a diversity of artistic interventions, to develop the ability to see where they best fit into the development and implementation of an initiative with a strong arts and social change dimension, and to realize that different types of funding and skill sets are needed at different stages of an initiative. When social justice funders come across an arts-focused initiative, they often panic. Sometimes they're right to do so, but I would urge funders to look at the individual stages of a project and try to determine where they could help while advancing their own mission and priorities. In many cases, those stages follow a predictable pattern: exploration/research, production/construction, exhibition/presentation, activation/education.

Other important factors for funders to consider include the issue being addressed, how interactive the process is, and how engaged the target population is. Funders should align their support with these factors and stages, while keeping in mind their own expertise as well as that of their grantees and their communities of practice. While many social justice funders are uncomfortable about getting involved in the production or presentation phase, for example, they might turn out to be interested in and perfectly suited for the research, process, or activation/education phase.

Finally, I think funders need to pay more attention and do a better job of supporting the dissemination of projects and ensuring that their funding for any stage of the project is leveraged in terms of education, learning, and debate. I feel that too many well-made, powerful, and informative projects struggle to make an impact on public discourse and the broader conversation around social justice and peace. And I really see it as an opportunity for both arts and social justice funders to collaborate and promote a sense of shared responsibility around their common goals and objectives.

— Kyoko Uchida

It kind of puts the whole destruction in a new light, and maybe answers the Muslim question of 911. In the following video get talks about 'Impact', 'Outcome', 'Indicators'. Can we guess what his current project is, maybe something in Palestine?


“Planning for Impact: Making the Case for Arts and Culture” by Moukhtar Kocache

17 Dec 2019
In this 5-minute inspiring video, New York-based independent arts adviser and non-profit cultural consultant Moukhtar Kocache argues that most art leaders often lack the tools, techniques, time and luxury to think about the outputs, impact, goals and objectives of their work. He offers a tri-angular perspective, based on impact, outcomes, and indicators (evidence of the success or failure and limitations of one’s work).

Kocache’s contribution is part of a series of videos by international experts who were invited to the Arts and Culture Entrepreneurship (ACE) workshops. The ACE program was launched in 2018 by AFAC, in partnership with Drosos Foundation, and with the support of the German Federal Foreign Office and is currently embarking on its second cycle.

[rachel]

More "ART"...

1979 Ominous ad from Pakistan International Airlines
Unintentional but scary. Found on the web.

Translation:

Fly to New York City via Pakistan International, one of the few companies to offer direct flights to New York City. Flights depart from Orly South, and PIA offers the best choice of transfers in countryside towns, yet another proof of its efficiency.

PIA is an international company with a spactacular development: 3 million passengers this year only, with takeoffs every 6 minutes.

This success is carefully built upon passengers' satisfaction. For a successful flight to New York City or to one of 60 other metropolis around the world, fly with PIA.

Let's just check it against the model...1979.

[rachel]

Close.

Closer.

beavis and butthead in a 1994 vice magazine article
after the first wtc bombing

[rachel]

Having found out there was an active artists space in one of the towers for some years, I do wonder if that was the central place for creating all their predictive programming. So let's add other notable events.

Tightrope walk across World Trade Center (1974)



This is the proof they give us to establish Philippe Petit did his wire walk. It's hard to know if the establishing shot is really the towers or just video of a model. We don't see Petit or anyone else, and the fact the reporter in the helicopter says "I have a very queasy feeling in my stomach" suggests to me he isn't there at all; and rather he noted the rotation in the video and came up with that line.

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This doesn't look convincing, isn't that rope somewhat low for the angle of the shot? It's meant to be tied to the roof.

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Again, is that really the tower, or a model of a section of the tower. They had an art space inside the tower, so they could have taken pictures and then made a mockup.

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More stills of Philippe Petit.

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And then we have a police officer explaining what he did. Is it usual for policemen to wear eye makeup?

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[rachel]

I can't help thinking the actual trick was creating different scale models of the buildings, then cutting them in such a way to make it look like he's at the top of the tower.

And what's going on with the inside of the tower?

With the black and white shots, the fact he's all in black, it might be on purpose to aid in hiding double-exposures...one can't see anything double-exposed through black. And behind his head is light grey with no texture.