Podcasts about ansted moss

Slideshow of "Mother's Day," a graphic prose poam in eight 20x30 panels, part of the Place.Mark exhibition opening 7 March 2008 at the Work Gallery on State Street in Ann Arbor, Michigan. Features text extracted from conversations that took place between Thylias Moss and Ansted Moss, beginning in 1999 when he was eight-years-old, and features images captured with a digital SLR camera, a digital point-and-shoot camera, a 50x USB microscope, a camera phone, and a Polaroid camera. Images of Thylias Moss shot by Strexx, all others taken by Thylias Moss. An audio file of the Artist's Statement is available from the Limited Fork Music podcast.

A video poam exploring the mapping of neural networks in the mind through the linking of memory, a toy stove, the body's physiological responses to neurological temporary neurological damage, and imagination. Ideas about heat from one hub of this network, a hub which allows this hub to connect with other idea hubs in the mind. Anyone watching "Heat Dozens" has an opportunity to form a memory of the video poam and to form a network of associations formed by elements in the video poam linking with experiences already mapped in the mind and with environmental experiences occurring while watching the poam. The non-human produced sounds in the music track were produced by manipulating the oven door and heating elements switches of the Empire toy stove; these sounds were recorded by Ansted Moss and are the only sounds used in the instrumental portion of the soundtrack. Made in conjunction with the November 2007 University of Michigan "Arts and Minds""learning studio" event in which leading international artists, scientists, scholars, activists, and students explored the interactions of art and mind. The actual Empire toy stove was part of the "Heat Dozens" presentation, the oven filled with a small format booklet (soon to be available in this podcast in psd format) featuring video poam stills pulled from moments of video frame interface. The keepsake memory booklet was available to any participant who opened the oven and removed a booklet from it.

Complete soundtrack poam of the "Bubbling to Memphis" video poam (in the Limited Fork podcast). Features "Neptunian Studio" composed and performed by Ansted Moss. The a capella version of the soundtrack is in this podcast. Look for "Neptunian Studio" on Ansted's "WinslowSpeak" album coming soon to a music download location. For Primus.

LFMK is a video poam made for the SAPAC (Sexual Assault Prevention and Awareness Center & SafeHouse Center) "rEVOLUTION" show in the Duderstadt Center Gallery to launch the LFMK brand. LFMK (Looking for My Killer) is a (type of) PSA that hopes to call attention to the vulnerability of humanity through an extreme selfless act, that of a woman using herself to attract the attention of an attacker in order to protect other women the attacker might pursue if she were not willingly available. Because she enters into her humanitarian mission joyfully, the music is spirited, the colors of the embedded ads (by Ansted Moss of abstract-projections.com) are vivid. Look for LFMK T-shirts, mouse pads, mugs, picture frames, tote bags. Read some of the LFMK print poams in The Canary, Callaloo, NOR, and the Oleander Review. The LFMK soundtrack is available in the Limited Fork Music podcast.

soundtrack of the LFMK video poam made for the SAPAC (Sexual Assault Prevention and Awareness Center & SafeHouse Center) "rEVOLUTION" show in the Duderstadt Center Gallery to launch the LFMK brand. LFMK (Looking for My Killer) is a (type of) PSA that hopes to call attention to the vulnerability of humanity through an extreme selfless act, that of a woman using herself to attract the attention of an attacker in order to protect other women the attacker might pursue if she were not willingly available. Because she enters into her humanitarian mission joyfully, the music is spirited, the colors of the embedded ads (by Ansted Moss of abstract-projections.com) are vivid. Look for LFMK T-shirts, mouse pads, mugs, picture frames, tote bags. Read some of the LFMK print poams in The Canary, Callaloo, NOR, and the Oleander Review. The LFMK video poam is available in the Limited Fork podcast.

Short form of the longer update, both of which feature more images by Ansted Moss. This video poam explores how war and other physically, emotionally, and psychologically turbulent situations affect attempts to do laundry in an otherwise comfortable urban location. The update became necessary when external hard drive failure caused the loss of some of the source files. This piece is the outcome of salvage, replacement, and reinvention. Thank you, Evie, for asking for a poam when I was doing laundry. Thank you, Ansted for all the dirty socks and for images of me draped with laundry. The print poam may be read at mipoesias.com.

This updated version of the full-length video poam is about how war and other physically, emotionally, and psychologically turbulent situations affect attempts to do laundry in an otherwise comfortable urban location. Featuring more images by Ansted Moss, the update became necessary to make when an external hard drive failure destroyed some of the source files. The update is an outcome of salvage, replacement, and reinvention. The sound poam portion comes from a print piece prepared for MiPO (mipoesias.com), guest edited by Evie Shockley. Thanks, Evie, for the occasion that led to these makings and remakings.

Short video poam form of "Monday Aardvark of Laundry." Features images by Ansted Moss and faces of Martha, Mattie, and Donna --thanks for the likenesses. Thanks also to Evie of MiPO who got this bifurcating Aardvark bifurcation started.

A video poam exploration of some of the visual potential of some of the content of the sound & text poams of the same name. This video poam is also for Evie of MiPO who asked me to submit some work. Thanks for getting this tine of the fork in motion. This video poam is not likely to be the final bifurcation. "Monday Aardvark of Laundry" contains images by Ansted Moss (see more of his visual work at abstract-projections.com) and Thylias Moss. The "Monday Aardvark" sound poam is available in the Limited Fork Music podcast. Thanks Mattie, Martha, and Donna for your wonderful faces.

Video poam treatment of "Verde," a prose piece available at poetrymagazine.org. The video includes Spanish by Federico Garcia Lorca from the poem "Somnambule Ballad," and a still image by Ansted Moss whose image work may be seen at abstract-projections.com. The soundtrack is available in Limited Fork Music.

A video poam for Mikel Alvarez whose request for the sound poam "Tornados" led to the creation of this video poam. I hope you like it, Mikel. "Tornado Pi" contains an image of the mother of Limited Fork Poetics taken by Ansted Moss. "Tornado Pi" also contains footage of the "Pi Song" ENG 429 players: Nate Barron, Rachel Harkai, Jennifer Obidike, Julia Ris, and Jennifer Sharkey. Nate and Jennifer Sharkey's video poams are available in the Limited Fork Video Anthology podcast. The soundtrack of "Tornado Pi" is available in the Limited Fork Music podcast. "Pi Song" is available in the Limited Fork podcast and the the Limited Fork Music podcast. The soundtrack of Jennifer Sharkey's video poam is also available in the Limited Fork Music podcast. "Colorful Dimensions," composed and performed by Ansted Moss, is the sonic structure that emerges with visual structures in this video poam. Please send any requests for sonic and/or video poams to thyliasm@umich.edu

Soundtrack from "Lattice Looking," the slideshow poam that is a companion to the "Pleasurable Complexity" Limited Fork poetry event. Parts of the slideshow poam are also part of "Latticed Shadowbox Suite" by KC Trommer and Ansted Moss. These pieces are available in the Limited Fork and the Limited Fork Video Anthology podcasts.

This movie poam explores what led me to write the narrative in verse SLAVE MOTH when my son, the composer of the soundtrack for this short movie poam, was in sixth grade at a grade-six-through-twelve school. During a meeting, some parents wanted to ban a required ninth-grade ancestry assignment that was embarrassing, humiliating, and demeaning for disclosing that their sons could trace their ancestry no further than slavery. Right away, I realized the need for other models of slavery so that the shame being experienced could be attached to a broader, and I felt, likely more accurate context, one more able to embrace the range of possibilities of circumstances during slavery which, even if owners were benevolent, was unacceptable because ownership of human beings was unacceptable. Part of the horror of slavery is that benign gestures might make the peculiar institution seem acceptable, a good indignity. Imagination can make an incredible difference, and in fact made an incredibly negative difference for those mothers who in 2002 were unable to imagine a plausible, less obvious layer of the history so embarrassing for their sons that they would prefer not to explore the rich offerings of a past that their ancestors obviously survived no matter what horrors were encountered. How awful that they were so willing to deny the testimony that survival can be. How awful that they could construct for themselves only constricted, generic, and simplified images of slaves. I remain impressed and inspired by survival. There are layers of experience in SLAVE MOTH, and the Perry household is a complex and dynamic system of existence, relationships stabilizing and destabilizing as alliances shift and as feelings are poorly suppressed; there are conflicting understandings of responsibilities to self and others, and power shifts according to what is stabilizing and what is destabilizing at any given moment. The fact that power shifts makes it difficult for any one person to wield it well or consistently. SLAVE MOTH offers access to more of the layers of humanity that some mothers in 2002 were unable to allocate to enslaved persons. I too spoke at the meeting; just before I left to start writing immediately I informed the group advocating abolition of the genealogy assignment that my son, only in sixth grade that year, had had no trouble completing his assignment to write an ancestry poem. I commented that Ansted had traced his ancestry all the way back to the big bang, and considered himself a descendant of stardust. The text of his poem is part of "Project Genealogy," and is also offered here: Ancestry Poem We all came from a single cell a vast time ago specks coming to life in the oceans of the planets and in space everyone of us evolved from star dust into the form we take on now looking at space through telescopes at the next generation of star dust that will breathe --Ansted Moss, 22 October 2002. The soundtrack and sonic variations of "Project Genealogy" are available at the Limited Fork Music podcast.

This movie poam from May 2005 explores what led me to write the narrative-in-verse SLAVE MOTH when my son, the composer of the soundtrack for this short piece, was in sixth grade at a grade-six-through-twelve school. During a meeting, some parents wanted to ban a required ninth-grade ancestry assignment that was embarrassing, humiliating, and demeaning for disclosing that their sons could trace their ancestry no further than slavery. Right away, I realized the need for other models of slavery so that the shame being experienced could be attached to a broader, and I felt, likely more accurate context, one more able to embrace the range of possibilities of circumstances during slavery which, even if owners were benevolent, was unacceptable because ownership of human beings was unacceptable. Part of the horror of slavery is that benign gestures might make the peculiar institution seem acceptable, a good indignity. Imagination can make an incredible difference, and in fact made an incredibly negative difference for those mothers unable to imagine a plausible, less obvious layer of the history so embarrassing for their sons that they would prefer not to explore the rich offerings of a past that their ancestors obviously survived no matter what horrors were encountered. How awful that they were so willing to deny the testimony that survival can be. How awful that they could construct for themselves only constricted, generic, and simplified images of slaves. I remain impressed and inspired by survival. There are layers of experience in SLAVE MOTH, and the Perry household is a complex and dynamic system of existence, relationships stabilizing and destabilizing as alliances shift and feelings are poorly suppressed; there are conflicting understandings of responsibilities to self and to others, and power shifts according to what is stabilizing and what is destabilizing at any given moment. The fact that power shifts makes it difficult for any one person to wield it well or consistently. SLAVE MOTH offers access to more of the layers of humanity that some mothers in 2002 were unable to allocate to enslaved persons. I too spoke at the meeting; on my way out I informed the group advocating abolition of the genealogy assignment that my son, only in sixth grade that year, had had no trouble completing his assignment to write an ancestry poem. I commented that Ansted had traced his ancestry all the way back to the big bang, and considered himself a descendant of stardust. The text of his poem is part of "Project Genealogy," and is also offered here: Ancestry Poem We all came from a single cell a vast time ago specks coming to life in the oceans of the planets and in space everyone of us evolved from star dust into the form we take on now looking at space through telescopes at the next generation of star dust that will breathe. --Ansted Moss, 22 October 2002.

2002 performance of "Glory" in which the poet speaks and sings the words, allowing the music composed and performed by Ansted Moss to reshape them for their occupancy of the sonic page instead of the 2D page.

The lyrics are from a prize-winning poam written by Ansted Moss; based on a real event. An Iraqi boy the same age as Ansted lost his arms during a bombing of his home.

Experimental poetry short from the early days (late 2004) of Limited Fork Poetics with images and soundtrack by Ansted Moss, animated text and vocalizations by Thylias Moss interacting in a hybrid literary form (a poam)