I am engaged in the use of abracadabra, where startling clarity might appear out of non-sense language.
The Shaman, endowed with training and inspirational experience, practices an inseparable blend of drama, slight of hand, and empirical science to ameliorate sickness, intuit the hidden, and alter events to beneficially affect the people. The Shaman is likely the first learned-professional serving as an amalgamation of prophet, priest, and healer. Shaman ‘medicines’ (‘medicine’ here inclusive of the use of ‘charms’ objects and theatrical performance rituals that involve curative intent) might seem mendacious, yet more often than coincidentally result in curing patients of their broad array of physiological and psychological ailments. If the means of the Shaman are bizarre, then what explains these action’s ability to effectively relieve suffering? (Rodgers, 1982)
“Traditional Trickster’s instruct by contraries and wind up suffering the consequences of disobeying traditional ethos.” (Armstrong, 2000)
I see a character, part Dr. Seuss, part Baroque seducer, lavishly dressed in red attire, and offering ice-cream —We are in a remote place, in a desert, There are gossamer sails, solar-panels, many wheels, a computer is displaying live video images of our approach –There are other hikers here they have questions, and are eating ice-cream bars, we talk to them they tell stories
The Trickster Project traveled the Western USA appearing for short Periods in Utah, Texas, New Mexico, Wyoming, Nevada, California, and Colorado. The shape shifting vehicle and expeditionary documentation and evidences has been exhibited in Art venues in both New York and Ohio
Trickster Project is a model of our abundance and generosity, as well as a model of the cavalier application of wealth. The work aims to be a rejoicing lament of our culture and a cautionary tale.
—an embodiment of my Americanism and questions regarding technologies roles in society: both generously ‘giving away’ ice-cream-bars to any it encounters — desires are fulfilled beyond expectation– but why ice-cream and email but no water?
The Trickster Project is an an expeditionary social sculpture. The central prop acting as a ‘character’ is an elaborately attired, and technologically laden vehicle that is home to: a solar freezer, touch screen computer archive, an array of sensor driven web cams and other devices and high tech gizmo augmentations.
The project is part the construction of myth and part Don Quixotian endeavor –staging technological abilities, and dubious outcomes, from seemingly ridiculous motives.
By combining actual events and trickery the Trickster object’s ‘story’ is that of a wandering entity offering ice cream to all who cross it’s path–The project’s purpose is to ‘embody a condition or problem’ in order to ‘disarm’ and thus create conditions for discussion. Trickster’s collectively told story is to be a facilitator of this ancient function of art. The composition of the Trickster Project created both ability and incentive for a broad authoring of documentary material of factual events combined and intermixed with tall-tales, exaggerations, and fictions regarding technologies multitude of roles and potentials, and how these effect authorship, participation, knowledge, and dis-information—issues I see as critical in this era.
The trickster character appears in the myths and stories of most cultures from ancient Greece to contemporary Africa and extensively in the diverse peoples native to the Americas. This character can within a single myth take on a multitude of forms and personalities and often occupies a junction realm between animal and human. (Vecsey 1985, Armstrong, 2000). Trickster is interpreted as the image of humankind continually re-creating itself, never completing the riddle of sorting self from the other– I assert that Technology and the malleable social digital environ is our contribution to what the Trickster puzzles.
Is our current trajectory visa-vi technology devoid of an altruistic destination–is this a misdirected folly of technological capabilities. I seek conversation through the use of disarming absurdity –the use of complex technology to accomplish meaningless tasks via excessive means
In the Trickster Project–the art escapes its confines, reducing the object to mere detritus of the art activity–Art resurrects as a much more ephemeral form that of a utilitarian social tool.
Babcock and Adams note “Trickster’s beneficence comes by way of disturbing as a criminal culture-hero, They embody all possibilities, the most positive and the most negative—Trickster is paradox personified” (BabcockAbrahams 148 1975, Armstrong 2000)
The paraphernalia and regalia of the shaman quite commonly include unkempt hair, a multitude of dangling ribbons garments with special markings, ornaments of metallic origin and orientation implements that represent the sun. The shaman’s equipment may be complex and voluminous to the point of significant practical encumbrance…(yet) power lies not in his implements but in his knowledge and visions some of these deliberately deceitful. His impressive costume and mystifying apparatus serve to add dramatic impact, symbolic significance, and an atmosphere of authority to support his mastery. These costumes, props, and accessories provide an avenue to entrance into an ‘otherworld’ (Rogers 1982)
Seidel attests that:
In cultures still in touch with shamanistic traditions, art is not seen as a separate concept. It is something that occurs, often in a ritual context, and interwoven with a healing intent…the community often comes together to receive it. What we see as the ‘art’ part – the intricate sand painting, or days long song cycles…may not even survive the ceremonial moment…Many contemporary artists have searched for ways to recover this relationship of art, healing, ritual. Leaving the studio they have engaged with other people to create new forms of art… (Pg. VII, 2001) Seidel goes on to mention, “Chrisine Corbat’s work with sufferers of illness and other traumas, Betsy Damon’s work with communities in Chengdu China. and my own work wherein I created a ritual around an oil spill. (2001)
Antelope Island Utah
Caves of Sonora Texas
Diablo Canyon New Mexico
Thunder Basin Wyoming
Goldwell, Beatty/Ryolite Nevada
Stone House, Miramonte CA
Duffy Mountain Colorado
duane mcdiarmid 