7. avg. 2008

Other Wor(l)ds at Ladyfest Amsterdam 2008

In Other Wor(l)ds
An Exercise in Collective Writing
by Tea Hvala

You are invited to write a science fiction story that involves and relates humans to an other, an alien, a being who is radically different from what you know and allows you to also perceive things differently. It allows speculation or extrapolation, as they call it when you alienate something familiar, obvious.

The first part of the session is going to discuss some examples from already existing feminist science fiction novels, for instance, Octavia E. Butler's Xenogenesis trilogy (1987-89, see below), in order to see what has been done, what hasn’t been done, and perhaps also see why it hasn’t been done… Ask questions like why does the other, the radically different, the hardly imaginable seem to often seem so monstrous; why the critique of thinking in either-or opposites in Ursula K. Le Guin's groundbreaking novel The Left Hand of Darkness (1969) does not automatically extend to the critique of homophobia. Stuff like that.

After this initial exercise in thinking difference, we're going to write our own stories or, if there is sufficient interest in formal experimentation, one collective story. In this case, in the style of music or comics jam sessions, each person is going to write only one part of the story and then, we'll mix, continue, finish, polish, dismember or assemble all these pieces into one messy, collectively written mistresspiece;)

Saturday, September 6th 2008 from 14.00 to 17.00 at Dokhuis Studio
Address: Plantage Doklaan 8/12, 1018 CM Amsterdam, http://www.plantagedok.nl

A follow up session for the workshop will be planned (time and day will be decided during the workshop on Saturday). The number of participants is limited to five people and English language. Open to all genders. Info on workshop reservations should be announced on http://www.ladyfestamsterdam.nl/practical any time soon. Below, you can see some examples that are going to be discussed at the workshop.

--0--

“All right,” she said. “Show me.”

The lights brightened as she had supposed they would, and what had seemed to be a tall, slender man was still humanoid, but it had no nose – no bulge, no nostrils – just flat, grey skin. It was grey all over – pale grey skin, darker grey hair on its head that grew down around its eyes and ears and at its throat. There was so much hair across the eyes that she wondered how the creature could see. The long, profuse ear hair seemed to grow out of the ears as well as around them. Above, it joined the eye hair, and below and behind, it joined the head hair. The island of throat hair seemed to move slightly, and it occurred to her that that might be where the creature breathed – a kind of natural tracheostomy. Lilith glanced at the humanoid body, wondering how humanlike it really was.

“I don’t mean any offense,” she said, “but are you male or female?”

“It’s wrong to assume that I must be a sex you’re familiar with,” it said, “but as it happens, I’m male.”

Good. “It” could become “he” again. Less awkward.

Octavia E. Butler, Dawn. Guild America Books, 1987, p. 16-17


--0--


"But surely--"

"But surely be damned! Balance of trade - balance of life, man. I don't know if our birth rate is going, that's not the point. Our soul is leaking out. We're bleeding to death!"

He took a breath and lowered his tone.

"What I'm trying to tell you, this is a trap. We've hit the supernormal stimulus. Man is exogamous - all our history is one long drive to find and impregnate the stranger. Or get impregnated by him; it works for women, too. Anything different-colored, different nose, ass, anything, man has to fuck it or die trying. That's a drive, you know, it's built in. Because it works fine as long as the stranger is human. For millions of years that has kept the genes circulating. But now we've met aliens we can't screw, and we're about to die trying... Do you think I can touch my wife?"

"But--"

"Look. Y'know, if you give a bird a fake egg like its own but bigger and brighter-marked, it'll roll its own egg out of the nest and sit on the fake? That's what we're doing."

"We've been talking about sex so far." I was trying to conceal my impatience. "Which is great, but the kind of story I'd hoped--"

"Sex? No, it's deeper." He rubbed his head, trying to clear the drug. "Sex is only part of it - there's more. I've seen Earth missionaries, teachers, sexless people. Teachers - they end up cycling waste or pushing floaters, but they're hooked. They stay. I saw one fine-looking old woman, she was servant to a Cu'uhbar kid. A defective - his own people would have let him die. That wretch was swabbing up its vomit as if it was holy water. Man, it's deep... some cargo-cult of the soul. We're built to dream outwards. They laugh at us. They don't have it."

James Tiptree, Jr.: And I Awoke and Found Me Here on the Cold Hill's Side (1972)
In: Justine Larbalestier (ed.): Daughters of the Earth. Wesleyan University Press, 2006, p. 166-167

23. jul. 2008

Koncert zasedb Kiss the Bottle in Face Up To It!

Dokaj sveža zasedba KISS THE BOTTLE igra melodičen hardkor pank. Spevno, a tudi udarno in trpko glasbo v bendu ustvarjajo “staroste” francoske emo scene iz začetka in sredine devetdesetih, ki prisegajo na pankersko D.I.Y. etiko in iznajdljivost: bobnar Cristophe (ex Undone, Fingerprint, Jasemine, vodi tudi založbo Stonehenge), kitarist in pevec Gérome (Amanda Woodward, ex Peu Etre, Alcatraz, Carther Matha) in basist Yann (ex The Flying Worker). Na turneji in koncertu predstavljajo komade, ki bodo v kratkem izšli na skupnem albumu s Face Up To It!

Muzika, besedila: http://www.stonehengerecords.com/kissthebottle/


FACE UP TO IT!
je anti-fašističen, gejem in feministikam naklonjen, ekološko ozaveščen, živalim prijazen in na bicikle mahnjen hiter old skul hardkor pank! V bendu že deset let igrajo basist Erik (ex Öpstand), pevec Fabien (ex Jean Seberg), bobnar Luc (ex Police Charged, Daymare, trenutno igra tudi s krasterji Gasmask Terrör in fura založbo Ratbone) in kitarist Gasp (ex Noir Les Horreurs, Inertie, Usqvarna). Izdali so dva mini albuma z bendoma Melee in Crucial Selection, sodelovali na vrsti kompilacij, leta 2002 v samozaložbi izdali lastno diskografijo na kaseti, za turnejo s Kiss the Bottle pa pripravljajo nov skupni album.

Muzika, fotke, videi: http://futi.free.fr/


V nedeljo, 10. avgusta 2008, ob 22h v Menzi pri koritu, AKC Metelkova mesto

17. jul. 2008

Interview on Grrrl Zine Network

In May 2008, I was interviewed by Haydeé Jiménez and Elke Zobl, the editors of the resorceful Grrrl Zine Network. The website connects grrrl, lady, queer, and trans folk zines, distros and do-it-yourself projects from all over the world. Even if I no longer make zines, it feels great to be included in the (virtual) community of feminist and queer zinesters ranging from Auckland to Bonn, from Lima to Ljubljana, from Vancouver to Warsaw, yes, yes! Here's the link to the interview entitled:
The Curved, Stripburger, Pssst... :"Artfully transforming society "
.

14. jul. 2008

Pošasti na razstavi Smenj smeti

Pošasti so strašno grde in nerodne - zlepljene so pač iz smeti. Ne vedo, od kod prihajajo, niti zakaj so nastale, vedo pa, da v svetu, zgrajenem na ruševinah imperializma, rasizma, seksizma, razrednega razlikovanja in kapitalističnega opustošenja, nepoškodovanih in nedolžnih bitij ni. Pošasti ne morejo preživeti s pomočjo izvorne nedolžnosti, temveč svet označujejo z orodji, ki so njih označila kot drugačne (Kiborški manifest Donne Haraway pa znajo na pamet). Ha! Pošastni pol-stroji, pol-ljudje so tudi strašni optimisti: mislijo, da lahko postanejo, karkoli hočejo. Mislijo, da najdeni predmeti in smeti, iz katerih so nastali, ne vplivajo na njihovo življenje. Mislijo, da gre zgolj za gradivo, ki jih ne omejuje ali usmerja k nobenemu specifičnemu cilju. Kaj naj z njimi? Kam s pošastmi? Jih dam na prtiček in kredenco, v risanko ali v smeti?

Na razstavo! Pošasti, mutanti, kiborgi in beštije se dobijo v ŠKUC-u na projekciji risanke Terra. Obujat pridejo spomine na Jablana in Paprika, njihova prijatelja in prednika. Leta 2005 sta bila med snemanjem risanke umorjena na planoti pod Poreznom. Krivice pošasti nočejo in ne morejo pozabiti, z združenimi močmi pa lažje prenesejo pogled na posnetek, kjer se njihova prijatelja še zadnjič nasmehneta - preden ju prekrije senca Radioaktivnega žutoptiča… Skupinskemu žalovanju sledi zabava: enoroki Smrkec zaigra na klavir, Karbira, Hard ToDrive, Gumica, Vrvica, Mini G. C. in druge pošasti pa plešejo in plešejo in plešejo!















Jablana in Paprik (2005)
(tetrapak, papir, plastična roka in oko, paprika, lepilo)
Posnetek iz risanke Terra (Suzana Fiegl, Jože Kovačič, Dario Hvala, Tea Hvala, 40'', 2005)

Udeležbo na komemoraciji so doslej potrdili naslednji gostje:
























Mini G. C. (2008)
(balon, zobotrebci, deli fotoaparata, britvici, blago, zvezdica z modrca, adapter Mini Gender Changer, lepilo in vrvica)

Mini G. C. v Ljubljano pride sama, iz Amsterdama. Med potjo kot vedno razmišlja o računalnikih. Močno je navezana na ženski odprtokodni računalniški festival Eclectic Tech Carnival – tako zelo, da si je /ETC-jev zaščitni znak odtisnila na čelo. (Mini Gender Changer je adapter, ki spreminja 'spol' računalniških portov. Porte s količi običajno imenujejo 'moški', porte z luknjicami pa 'ženske'. Ko moramo spojiti dve komponenti, ki imata enak port, nam ta adapter olajša delo, saj omogoči spoj.)! Tako kot programerke na Eclectic Tech Carnivalu, tudi Mini G. C. ve, da je sodobna tehnologija vpeta v spolni red in sanja o dnevu, ko spolna razlika ne bo več vplivala na naš dostop do znanja, računalnikov in tehnologije. Viva la Mini!




















 





Hard ToDrive in Smrkec (2008)
(deli trdega diska, plastičen Smrkec in otroški klavir, žica)

Smrkca med vadbo za nastop na ljubljanski komemoraciji preseneti Hard ToDrive in mu izpuli desno roko!! Kako naj zdaj igra?! Roko mora dobiti nazaj! (Ko se dvigne iznad klavirja in steče proti trdosrčnežu, se mimogrede vpraša, kje je Hard ToDrive sploh izgubil prvo roko …komu je tokrat vzneseno salutiral? Pha!)






















Gumica in Vrvica (2008)
(deli računalnika, elastični povoj, brusilni papir, vrvica, elastika, žica, belilo, flomaster)

Gumica in Vrvica sta edina udeleženca, ki živita dovolj blizu, da se bosta na slavje odpravila kar z mestnim avtobusom. Živita na Fužinah, zaradi dolgoletne zveze pa bolj kot ostale pošasti (povečini so mlajše, samske ali razvezane) soobčutita breme preteklih utelešenj. Včasih se sprašujeta, čigav je bil računalnik, ki jima je posodil telo, in kako so z njim ravnali, da ob slabem vremenu tako ječi. Gumica se sprašuje, čigavo in kakšno rano je ščitil modri elastični povoj, in kaj je bilo v vrečki z rjavo elastiko, ki je kasneje postala njena 'trajna' pričeska. Na zabavi ne bosta ostala, ne dolgo, pozorno pa si bosta ogledala risanko, posebej radostni začetek, v katerem o Radioaktivnem žutoptiču še ni sledi...






















Karbira z mladiči (2008)
(deli kolesa in fotoaparata, plastična hobotnica, vezalka, glina, selotejp, žica, lepilo, papir)

Karbira se je na pot odpravila sama, vendar je potovanje od obal Južnega kitajskega morja do Ljubljane zelo dolgo... Skotila je tri nepričakovane mladiče, ki še najraje počivajo na njenem trebuhu. Če je prej plavala kravl in med oddihom kar žabico, mora zdaj plavati hrbtno ali v položaju »mrtvaka«. Ko oprezna in radoživa Karbira počije, jo preplavi zasanjan, odsoten občutek kot spanje in budnost obenem. Pozabi na male in nase, na Ljubljano in žutoptiča, na vso žalost, ki se morda še obeta. Potem jo doseže ščebetanje otrok, hrumenje morja, jokave klice ptic in zdrzne se, kot bi na nebu že zakrožili žutoptičevi mali, ki so, kot je slišala, enako strupeni in požrešni kot on. Na slavju bo morala paziti na svoje. Ne znajo bežati, le otrpnejo v kamnite figure. ... in takšne imajo žutoptiči najraje. A mogoče zabava po komemoraciji sploh ne bo na prostem? Galerije imajo streho, ne? In gotovo bo Smrkec spet poskrbel za noro dobro muziko. Karbira se oddahne in nasmeji, zaplava še en krog, mladiči pa se od radosti zavrtijo okrog lastnih osi.
















Maranča in Bolk (2008)
(deli fotoaparata, tetrapaki, plastična igrača, povečevalno steklo, plastelin, žica, lepilo, papir, flomaster)

Bolk in Maranča sta najbližja sorodnika pokojne Jablane. Bolk se je po izgubi opazno spremenil: opremil se je z zrcalno-refleksnimi lečami, ki odsevajo nebo pod različnimi koti in mu na ta način sporočajo, kje preti nevarnost. Čez prijazen obraz si je nadel režečo masko s široko odprtimi usti. Začel je pleniti pod in nad vodo; nazadnje je ujel plastičnega gozdarja in morsko zvezdo, ki zdaj čakata na svoj konec v njegovem prostranem trebuhu. Maranča se Jablane ne spomni, samo po pripovedovanju ve, da je bila zelo podobna Bolku, čeprav je bila menda lepša in je raje kot gozdarje jedla peteršilj. Maranča je Bolkov vajenec in gojenec. Zadovoljen je, saj je pravkar izvedel, da gresta z mojstrom v Ljubljano na projekcijo risanke Terra. Vračata se k svojim tetrapakastim koreninam! Pred odhodom sta se Jablani v čast slikala v polju peteršilja.
















Radioaktivni žutoptič ml. (2008)
(začimbna embalaža, papir, sprej, selotejp, flomaster, belilo, vrvica)

Tudi Radioaktivni žutoptič mlajši že brzi v smer Ljubljana - Galerija ŠKUC! Joj!

*

Vabljeni na razstavo Smenj smeti

Prodajna razstava želi osvetliti problem potrošnje in smetenja. Ni le sejem smeti, kjer se prodajajo domiselni izdelki iz zavrženih materialov, nagovarja nas tudi k vsakdanu z manj smetmi. Otvoritev bo v soboto, 19. julija 2008 ob 19h v Galeriji Škuc. Razstava bo odprta v času festivala Dobimo se pred Škucem, med 20. in 27. julijem, vsak dan od 17.00 dalje.

Vabljeni!

Kulturno ekološko društvo Smetumet

6. jun. 2008

Ženski odprtokodni računalniški festival v Amsterdamu

Eclectic Tech Carnival 2008

Marca letos je v Ljubljani na festivalu Rdeče zore gostoval mednarodni ženski kolektiv Genderchangers iz Amsterdama. Skupina je ženskam na računalniških delavnicah nudila pomoč pri uporabi odprtokodne programske opreme. Vse delavnice so bile dobro obiskane, razen… dveh: na delavnico, na kateri naj bi razstavile in ponovno sestavile računalnik, in delavnico o varnem posredovanju podatkov preko interneta, ni prišel nihče. Amsterdamske gostje so bile ob tem bolj presenečene kot ljubljanska ekipa. Ko sem v zadnjih dneh maja obiskala festivalu /ETC ali Eclectic Tech Carnival, na katerem se vsako leto srečajo programerke in druge računalničarke, ki prisegajo na Linuxov operacijski sistem, sem od organizatork zagrebškega »ladyfesta« Vox Feminae slišala enako zgodbo. Mar to pomeni, da žensk na tem koncu sveta računalništvo ne zanima? Res ne? Zakaj je tako in zakaj to nikogar ne preseneča?

V Ljubljani se sicer lahko bahamo s Kiberpipo, ki je za uveljavljanje odprto in prostokodnih programov naredila veliko, ne moremo pa se ravno ponašati z vidnostjo žensk na področju odprtokodnega programiranja in vnašanja novosti v informacijsko in komunikacijsko tehnologijo. Amsterdam pa ima vsaj desetletno zgodovino samoorganiziranega računalniškega opismenjevanja žensk.

Prvi brezplačni internetni café v Amsterdamu, v katerem je izključno rabljene računalnike poganjal operacijski sistem Linux, je konec devetdesetih v zasedenih prostorih odprla skupina ASCII (Amsterdam Subversive Center for Information Interchange). V skupini so prevladovali moški in čeprav so svoje znanje in spretnosti delili z novimi članicami skupine, se slednje v tem okolju niso počutile preveč dobro. Motil jih je vzvišen in včasih kar pokroviteljski odnos nekaterih članov ASCII-ja, zato so se začele zbirati v manjši, izključno ženski skupini. »Skupina je sprva delovala kot študijski krožek. Pred srečanjem je vsaka izmed nas preučila eno poglavje priročnika in znanje potem delila z drugimi. Delale smo v precej bolj sproščenem vzdušju.« Prav zato, nadaljuje Donna Metzlar, ena od ustanoviteljic »akademije« Genderchangers, še danes vztrajajo pri delavnicah, ki so namenjene izključno ženskam in transseksualkam: »Iz osebnih izkušenj, pa tudi na podlagi raziskav, lahko z gotovostjo trdim, da se udeleženke v izključno ženskih prostorih lažje izražajo (recimo, sprašujejo t.i. neumna vprašanja). V teh prostorih se ženske lažje privadijo na tehnično subkulturo; tako se lažje znajdejo v »resničnem« ali spolno mešanem okolju. Za okolje, ki je občutljivo na kontekst, in delo v vrstniških skupinah na splošno velja, da udeležencem omogoči lažje učenje in jim da višjo raven znanja.«

Fotografija: R. G. Gözüm

Na osmem festivalu Eclectic Tech Carnival (prvi je bil v Puli, drugi v Atenah, tretji v Beogradu, sledili so mu festivali v Gradcu, Temišvaru, Linzu in brazilskem Salvadorju) se je letos zbralo okrog petdeset računalničark iz Evrope in ZDA. Zaradi njihove zagnanosti, znanja in ustvarjalnosti se je druženje v zasedenem poslopju na ulici Plantage Dooklaan zdelo kar preveč samoumevno – vsekakor dovolj, da je predsodek o »nenadarjenosti žensk« za računalništvo hitro izzvenel v prazno… Sploh potem, ko so gostje iz Radia FRO in nemškega (Linz) demonstrirale, kako v treh urah lahko narediš svoj lasten mini radio oddajnik, ki je prek USB vhoda povezan z računalnikom, in v radiju kakšnih petnajstih metrov lahko oddajaš vse, kar ti poželi srce. Seveda, samo dokler te ne sliši kak medijski policaj, ki ve, da je, vsaj v Avstriji, USB oddajnik že prepovedan! Predsodku je zaradi iznajdljivosti udeleženk nasprotovala celo najbolj ponesrečena delavnica, na kateri naj bi iz lesa in magnetov (vzetih iz trdega diska) naredile »čarobno« desko za odlaganje kuhinjskih nožev, na katero se noži lepijo kar sami, vendar se je hitro izkazalo, da voditeljica delavnice sploh ne ve, kje točno v disku se skriva magnet! A smo ga našle, le da so medtem pod rokami manj potrpežljivih udeleženk namesto »čarobnih« desk že nastajala ogledala, uhani in roboti na, zaenkrat, človeški pogon.

Fotografija: Tea Hvala

O »nenadarjenosti« za računalništvo sva še najbolj glasno pričala jaz in moj podarjeni, muzejski primerek prenosnega računalnika iz leta 1998, saj je ubožec ob vsakem zagonu brezsramno zapel korporativno microsoftovo himno: ti-di-di-di! Punc, ki so se posvetile delavnicam, to ni motilo, le smejale so se in nadaljevale z delom. Na vrsto so prišle kode, ki sestavljajo Ubuntu, jezika Phyton in HTML ter različni programi (UpStage, Ubuntu Studio, Audacity, Pure Data,…). S tem se je udejanjil osnovni namen festivala /ETC: sodelovanje in druženje računalničark v realnem prostoru in času. Obiskovalke festivala živijo na različnih koncih sveta, in tudi same so plačale ceno za nastanek t.i. globalne informacijske vasi: nimajo lokalne odprtokodne programerske skupnosti, kaj šele, da bi imele skupnost peščice žensk znotraj omenjene skupnosti: po podatkih, objavljenih na konferenci Wizards of OS septembra 2006, delež programerk niha med 0.5 % in 1.5 %.

Programerke z aktivističnim nabojem so se na lastno robno umeščenost odzvale na različne načine. Val Henson je leta 2002 napisala priročnik HOWTO Encourage Women in Linux, Donna Metzlar pa je konec devetdesetih s prijateljicami osnovala študijsko skupino Gender Changer Academy. Imena si niso izmislile same, le že obstoječemu terminu so dale nov pomen: »recikliramo ga. Ustvarila ga je tehnološka industrija. Termin tehnično in dobesedno govori o računalniškem delu, o adapterju, ki spreminja 'spol' računalniških portov. Porte s količi običajno imenujejo 'moški', porte z luknjicami pa 'ženske'. Ko moramo spojiti dve komponenti, ki imata enak port, nam adapter olajša delo, saj omogoči spoj. Termin smo si prisvojile in v naši rabi pomeni človeka, ki je pozoren na vpetost tehnologije v spolni red. Z akademijo Gender Changer želimo doseči, da spolna razlika ne bo več vplivala na naš dostopa do znanja, računalnikov in tehnologije«. Lepo, ne?

Fotografija: Tea Hvala

Festival /ETC je načela prostokodnega programiranja povezal s feminističnimi prizadevanji: neomejeno uporabo programske opreme je navezal na boje za avtonomijo in pravice žensk, splošno dostopnost opreme s pravico do javne in politične participacije, možnost kopiranja kode s solidarnostjo feministk z drugimi marginalnimi skupinami (in z ekološkimi prizadevanji za zmanjševanje potrošnje), možnost nadgrajevanja kode in njeno javno dostopnost pa je festival /ETC povezal z daljnosežnimi spremembami, ki so jih sprožila in pospešila različna feministična gibanja: z bolj dostopnim izobraževanjem, reproduktivnimi pravicami, pravicami delavk, ipd.

Ker je primerjava zelo ohlapna, jo lahko konkretiziramo z Donninim odgovorom na vprašanje, v čem je pravzaprav korist poznavanja programske opreme in poti, po katerih na spletu potujejo osebni podatki, ko pa je toliko drugih vsebin, ki so enako pomembne? Donna se strinja, da so na svetu tudi bolj zanimive stvari, vendar »potem vsaj veš, katere dele za računalnik moraš kupiti. Tudi napake lahko odpraviš sama in ni se ti treba zanašati na pomoč drugih; poleg tega se s prodajalci lahko pogovarjaš v računalniškem žargonu, kar egu nikoli ne škodi«, se je pošalila in dodala, da ji je vseeno žal, da zanimanje ni večje, saj je »informacijska in komunikacijska industrija mogočna in vse bolj vplivna, vodi pa jo vse manj ljudi. Medtem se naša odvisnost od peščice lastnikov, načrtovalcev, inženirjev, oblikovalcev in vzdrževalcev veča iz dneva v dan«.

Kje so torej ljubljanske računalničarke? Se skrivajo doma? So v Kiberpipi? V Amsterdamu? Veliko jih najbrž res ni, zato bi morale ponovno začeti na začetku: z odganjanjem strahu pred računalniki in opozorilom, ki ga je feministkam na srce položila že neustrašna Harriet Tubman, ki ni čakala na osvoboditev, temveč je iz suženjstva pobegnila sama: ko boš prestopila mejo in vstopila v svet svobodnih, tam ne bo nikogar, ki te bo čakal in vodil skozenj; tujka boš v tujem svetu. …pod pogojem, seveda, da se festival /ETC naslednje leto ne ustavi v Ljubljani.

Besedilo je v krajši obliki izšlo v 6. št. revije Narobe.

10. maj 2008

Presentation at Eclectic Tech Carnival



Eclectic Tech Carnival
May 25th – 31st 2008
, Amsterdam

May 26th at 22.00, Vrankrijk, Spuistraat 216
May 30th at 17.00, Plantage Doklaan 8-12

»When we move, it's a movement!«
Feminist and queer festival Red Dawns

Presentation by Tea Hvala

Red Dawns festival happens annually around March 8th in the Autonomous Cultural Center Metelkova mesto in Ljubljana, Slovenia. Since 2000 and the 1st Red Dawns, the organizers have shifted from self-defining it as women’s to feminist and finally in 2007, to a feminist and queer festival. The presentation is going to outline the reasons for and consequences of Red Dawns’ constant need for (re)articulation. Welcome!

7. maj 2008

Koncert AIDS Wolf in Br-Ass-Bass Hit

Menza pri koritu, 6.5.2008
Fotografije: Iztok Vidmar

Lahko bi rekli, da se je sinočnji koncert pričel že pred koncertom, z otvoritvijo nove poslikave na sosednji Jalla Jalli, kjer je na strehi s kratko improvizacijo na dudah med drugimi nastopil Andrej Fon. Improvizacijski je bil tudi nastop ad hoc zasedbe BR-ASS-BASS HIT, ki je koncert v Menzi pri koritu pričela kar med publiko; vsak glasbenik se je iz svojega kota – z balkona, izza šanka, od vhoda in zadnjega dela dvorane – počasi približeval odru. Skupaj s približevanjem je naraščala tudi jakost sprva jazzovskega pihalnega jama na dudah, klarinetu, trobenti in pozavni, kateri so se kasneje pridružili še kontrabas, kitara, bobni in takoimenovani hurli-gurli, strunska pogruntavščina Samota Kutina iz eksperimentalnega cirkusa Salamandra Salamandra. V zasedbi Dario Cortese na dudah, Simon Vene na trobenti, Linč na bobnih in pozavni, Andrej Fon na klarinetu, Miha Kunšič na kitari in Boštjan Benčič na kontrabasu smo poslušali stopnjevanje v smer bučnosti, ki ga je – preden bi se izpelo v brezkončno repeticijo – rešil Linčev nenadni bobnarski vstop in enako nepričakovan konec, ki se je v tišino iztekel z nežnimi zvoki Samotovega hurlija.

Br-Ass-Bass Hit

AIDS volkovom je v hipu, ko so stopili na oder in vklopili štrom, prekurilo basovski ojačevalec. Že je zakrožila šala, da je bil to najkrajši nojzerski koncert, kar smo jih kdajkoli slišali na Metelkovi – seveda, če odštejemo neme solo nastope Minimal Bastarda – ko je bend vendar našel zamenjavo. Začeli so tako, kot se spodobi: neusmiljeno bučno in gotovo bolj živce kot srce parajoče za tiste, ki jih v zvočno razdejanje AIDS Wolf ni potegnila kombinacija razbijaškega ritma in bobnečih rifov a la Arab on Radar, Lightning Bolt ali celo bolj dostopnih Death From Above 1979. A mogoče si je hrup, ki ga AIDS Wolf bruhajo že kakih pet let, res lažje predstavljati z besedami, izposojenimi od Captaina Beefharta: AIDS Wolf zvenijo kot »lignji, ki se v polietilenski vrečki bašejo s testom«.


Hiroshima Eye (AIDS Wolf)

Natanko takšna je tudi specifična in vendar za nojzerje pričakovana estetika AIDS Wolf: vizualno nasilje sitotiskanih plakatov in naslovnic, ki jih ročno izdelujeta bobnar Special Deluxe in pevka Hiroshima Eye v svoji delavnici Seripop, je v preobloženosti, kontrastih in florescentnih odtenkih gneva, ki naj bi, če se vrnemo k zvoku, poslušalce pregnal. Sinoči je prav ta destruktivna moč začarala in v veselje spravila kakih dvajset, trideset ljudi, ki smo hedbengali, se tresli, gugali in krožili v vrtoglavem ritmu bobnov in spolzkih rifih obeh kitaristov, treznila pa nas je drobna, v črno ogrinjalo in pajkovski kostum odeta pevka, ki se je cel koncert sprehajala med folkom in preverjala našo odzivnost na njen glas, obraz, dotik.

Hiroshima Eye (AIDS Wolf)

Zasedbo AIDS Wolf že od nastanka spremljajo določena fama in visoka pričakovanja. Razlogov za to je več: najprej spadajo med bende, ki so se v za umetniško ustvarjanje izjemno vzpodbudnem okolju »kanadskega Berlina« oz. Montrealu lahko izoblikovali ob praktični podpori nekdanjih Godspeed You Black Emperor, ki so dobiček od svoje slave investirali v lokalno sceno; člani Godspeed razpolagajo, na primer, s kar dvema kluboma, ki sta namenjena eksperimentalni glasbi. Potem je tu dejstvo, da bend AIDS Wolf podpira legendarna založba Skin Graft, tudi dejstvo, da je prvi album The Lovvers iz leta 2006 posnel Arlen Thompson iz zasedbe Wolf Parade, pa podatek, da člani AIDS Wolf igrajo tudi v bendu Les Enfants Sauvages in v power duetu Hamborghinni!, kitarist pa igra tudi s člani bolj znane montrealske zasedbe Bell Orchestre.

Special Deluxe (AIDS Wolf)

A medtem ko je kar nekaj kritikov kljub ugodnim referencam glasbo AIDS Wolf odpisalo kot neravno posrečeno kopijo kakih Scissor Grils, Melt Banana ali tudi prej omenjenih Arab on Radar, je bil sinočnji koncert izjemna osvežitev za ušesa, katerim se v Ljubljani upravičeno toži po tako naspidiranem »power nojzu«.


Prvič objavljeno na Radiu Študent v sredo, 7. maja 2008 v RŠ recenziji.

6. maj 2008

Konfuzno Izvajanje velikeg blatarja

.

Izvajanje velikega blatarja
(bralna uprizoritev)
Tea Hvala

Nastopajo:
Boris Vlajić: dr. Bata Leviki, veliki blatar
Jure Gruden: dr. Nikolaj Lajić
Tea Hvala: dr. Shesti Chut

in dr. Paolo Andreani, dr. Sandra Essbauer, dr. Jinzhong Fu, dr. David Wake in drugi udeleženci XII. mednarodnega zoološkega kongresa v Ljubljani (5.-11. oktober 2009).

Vsem zoologom se zahvaljujemo za konstruktivne kritike in sodelovanje! Še posebej se zahvaljujemo fotografu Marku Preslenkovu in snemalcu Damijanu Kracini za zvesto upodobitev nepozabnega dogodka. Video posnetki so iz druge ponovitve Izvajanje velikega blatarja. Potekala je v petek, 2. maja ob 22.00 v Osnovni šoli Sečovlje na Konfuziji, 2. konvenciji ljubiteljev znanstvene fantastike, fantasyja in grozljivk.

***

Veliki blatar je skulptura Damijana Kracine. V projektu Galapagos (http://www.galapagos.si/) se je s slikarjem Vladimirjem Lebnom prepustil čudoviti fantaziji o sožitju živalskih vrst s človeško. Vodnik po Galapagosu (http://www.galapagos.si/knjiga.htm) vam samo ponuja avtentičen vpogled v galapaško razbohoteno življenje in tako zagotavlja, da bo vaše doživetje otoka nepozabno!

Izvajanje velikega blatarja (http://www.kracina.com/veliki_blatar.htm) je kratka zgodba Tee Hvala. Velikega blatarja, inteligentno bitje, ki ga je zoologija kljub nestrinjanju nekaterih raziskovalcev umestila v razred dvoživk, obravnava kot barjansko žival na robu izumrtja. Spremlja življenje izjemno prilagodljivega primerka, ki si je za las rešil kožo pred naraščajočo vročino in sušo tako, da se je iz Ljubljanskega barja preselil v stanovanje ob južni obvoznici. V pretresljivi izpovedi velikega blatarja na XII. Mednarodnem zoološkem kongresu v Cankarjevem domu v Ljubljani izvemo, zakaj kljub temu, da očitno gre za razumno bitje, blatar »ne more preprečiti lastne smrti« oz. izumrtja.




27. apr. 2008

Explication of the Great Muddigger

“I object!” Bata Leviki was restless. He dug his elbows into the desk as if the gesture could emphasize his protest.

It certainly didn’t stop Mr. Lajić from talking. Right then Bata Leviki’s animal hit my thigh and I deeply regretted my position. I had been seated to Leviki’s right, next to his muddigger. The animal had been resting at Leviki’s feet until the zoologist’s protest woke it up. When it moved, it slapped its heavy tail against me. I had to grab the desk with both hands to keep myself from falling, and then I pushed back. The animal ignored me; it was Leviki who gave me an angry look.

I peeked under the desk and saw that his muddigger was quite calm in spite of the general commotion. It was lying on its back, stretched out, its plump head and “haircut” thrown back, its lung ventricles exposed, each chest fang sticking in its own direction. Meanwhile, the tip of its tail was climbing, spiralling up Leviki’s bony legs like it was trying to coax him or perhaps comfort him. With every turn, it inevitably skimmed my leg and even though I found it extremely unpleasant I was not surprised to see that Leviki, on the other hand, was not bothered at all. Wasn't he most disturbed by Mr. Lajić's remark that great muddigger's endangerment is secondary to the danger its species presents to humans? Leviki was definitely angry when Mr. Lajić continued saying that the great muddigger doesn’t belong to the conference, especially not to the respectable Congress Center of Cankarjev Dom.

By then, Mr. Lajić was finished. He ignored a researcher who was obviously ready to add his remarks, turned to Leviki and said: “Mr. Leviki, can you explain how you intend to counter the results of this research project when you were personally involved in it and, let me refresh your memory, never questioned its conclusions. Also, allow me to ask you why have you decided to object my explication’s thesis today, at the closing meeting even though you had more than a year's time to do so?”

I was wondering the same thing even though I already knew that Leviki was not going to be able to answer. The rumour was that Leviki had been living with the great muddigger since the beginning of his field research in the swamps of Ljubljansko Barje. I also heard they share a flat which isn’t much bigger than my own. Impossible! The constant presence of the great muddigger (who certainly did not get its name without a reason) was unimaginable for me. Did Leviki really learn to love the animal so much that he eventually decided to adopt it? From a professional point of view, his act clearly discredited all his research efforts. I flinched, looked at Leviki and saw that he was going to give it a try anyway.

“Dear Sirs,” he began and remained seated. Everybody knew that he was tied to his seat by muddigger’s heavy embrace. Then, as if the humiliation wasn't complete, the animal’s tail peeked over the desk and slowly curved down its full length. I don't think Leviki was aware of the moment's cruelty. He was rubbing the muddigger's tail and looking at us from such a distance that I prepared myself for a very long and most certainly partial answer.

Below, you will find my transcript of Leviki's speech. Although his findings about the great muddigger are probably valid only for his domesticated specimen, I shall leave it to the expert community to decide whether Leviki's studies are of any general value as well.

Sikhth Sense, Ph.D.
Calcutta, October 18th 2009


XII. INTERNATIONAL CONGRESS OF ZOOLOGY
Desiccation of Swamp Habitats and Survival Strategies of Endangered Amphibians
October 5th – 11th 2009, Congress Center of Cankarjev Dom (Ljubljana, Slovenia)

October 10th 2009: Case Study: The Great Muddigger (Caenulentus major)

BATA LEVIKI'S EXPLICATION – TRANSCRIPT

Dear Sirs,
Mr. Lajić's ridicule demands an answer. The following arguments are going to object to the same thesis I have indeed supported until one year ago. I will refute the prejudiced opinion that the great muddigger is an amphibian hostile to humans; in fact, I will refute even the idea that the muddigger is an amphibian at all. I insist that his exceptional sensitivity and intelligence demand further study: they demand that we rethink his – and our own – place in the genealogical tree of life. I am going to conclude my deduction with arguments that support the most important and most frightening realisation of my studies: I believe that the great muddigger’s species is on the verge of extinction. In spite of his intelligence the muddigger failed to develop effective survival strategies. Are we going to apologize for our so-called professional mistakes only when it is too late? When Ljubljansko Barje is inhabited by the last eight specimens? Well, the last nine. (He looked at his domesticated specimen. – Note by S. Sense.)

But let me first thank You for Your kind attention. I also want to use this special occasion to express my respect and admiration for the deceased Mr. Torn’s work.

/Indignant exclamations./

(The deceased Črtomir Torn was one of the earliest self-taught researchers of amphibians in Slovenia. He was also the first to notice this unusual animal in the swamps of Ljubljansko Barje, a creature that could barely be categorized as an amphibian. In 1910, Torn described the great muddigger as a “snake-like animal measuring up to two meters in length, its body shape similar to that of an olm (Proteus anguinus); it is legless and uses serpentine bending of the body and its laterally flattened tail to move through the swamps. Its entrails are protected by an intriguing white coating. The head is plump and round, its compound eyes surprisingly large and similar to those of a wasp. Three dark short feelers (external gills?) grow from its head. How the animal breathes is a mystery; but since it can stay underwater for long hours without surfacing to breathe, I assume it is an amphibian that alternately breathes through gills and lungs.”In: Č. Torn: Knjiga mojih ur na Ljubljanskem barju preživetih, Delavska knjižica, Ljubljana, 1911; p. 304 – Note and quote translation by S. Sense.)

We were all aggrieved by Črtomir Torn’s tragic death. I am well aware that it was him, admirer of nature and pioneer researcher, who first raised our attention to the great muddigger's existence, who sacrificed countless hours of work for research and eventually gave his life for the muddigger. I am also aware of the fact that Mr. Torn’s unfortunate death gave birth to the idea that the great muddigger is an amphibian harmful to humans.

/Mr. Lajić: Mr. Leviki! You know very well that the muddigger literally tore Mr. Torn apart! We have reason to believe that there is a chance of repetition!/

That is true, Mr. Lajić. Unfortunately, we will never know what Mr. Torn did to the muddigger before the creature began defending itself. Let me propose another example that promises repetition. You will have to take my word for it though.

 Great muddigger's natural habitat

Two year ago, when I began intensely studying the great muddigger and his life habits, I moved into a house by the Southern by-pass, close to Ljubljansko Barje, in order to avoid commuting and to be involved in my studies more directly. On one of my walks home, I carelessly stepped into a muddy landslip. It swallowed me up to my waist immediately. My own weight was pushing me deeper and I hurried and fumbled for grass, bushes, anything solid, but the plants were too weak for my weight. They uprooted and stayed in my fists. I fumbled madly, quite certain that my end was nearing – the thick mud had already reached my chest .

It was then that I felt a sharp stone under my fingers. I took a hold of it with all my strength and tried to pull myself out of the mud. I managed to stop the sinking, but then had to rest since I was too weak to continue. But even as I remained still and held the stone, I felt like I was being pulled out of the landslip. Eventually, I noticed that it wasn’t me who was pulling the stone; the stone was in fact pulling me – and pulled me – out of the mud! Of course you already know that I wasn’t holding a stone. I was holding a fang, a muddigger’s fang!

I was terrified but in that strangely sober moment, my fear and weakness were defeated by my immense curiosity. This was an extremely rare occasion to see his fangs and mysterious lungs from close range! My saviour, however, refused to be examined. He turned onto his stomach, aimed his fangs for the ground and began making towards the larger pools. I struggled to my feet and touched his back. It was covered in mud, yet soft and warm like the skin of warm-blooded animals. I retreated in surprise. Was it possible that the great muddigger was a mammal?! While I feverishly ruminated on this sudden, even iconoclastic thought, the muddigger slowly meandered towards the puddles, half buried in the waterlogged ground.

My belief that the great muddigger is not harmful to humans was born there and then. However, today I believe that the truth is quite to the contrary! As many of you probably know, I and Bata (He pointed to his specimen. – Note by S. Sense) have been living in exemplary cohabitation for the last year. I can therefore confirm that the muddigger is a peace-loving being, who, unlike other amphibia, wants to communicate – and does it!

/General laughter./

/Mr. Lajić: Your conclusions demand additional explanation. Please continue, Mr. Leviki./

I am going to tell you why the great muddigger really is dangerous: not because of his physical strength and not because of his bellicose reactions to his few enemies – I suppose there is no need to explain who I mean by that. The muddigger is harmful because of his intelligence, his sensuousness and ability to feel. His psychic structure is far more complex than mans'. I am not referring to logic but rather compassion, his ability to sympathize. Tell me: have any of you ever tried to talk to a muddigger? Perhaps listened to him? You didn’t, you prefer to invest in “domestification” of rebellious hairiries, and you prefer to lock edgebeens and globigherines into aquariums. You do not live with them – you own them! Are you really capable of living only with humans? In that case, my experience is beyond your reach and simply incomparable. I can assure you that the great muddigger really is a threat – because he has more sense than all of us zoologists together!

/Loud objections. (Unfortunately, low quality of my recordings does not allow me to detect individual objections. The end of transcript. – Note by S. Sense.)/

In the past week, I doubted the authenticity of my recordings several times; I also doubt the credibility of my own memory even though I know I will never forget the events that followed Leviki's explication. I feel it is my duty to transcribe and publish these recordings for the world's zoological community, since I can no longer wait for the hypothetical letter which would inform the congress participants that what we have witnessed in Ljubljana was merely a mass hallucination or perhaps a science-fiction performance. I therefore entrust you the notes of an eyewitness whose essence defies his perception.

Leviki crouched to his muddigger amid general laughter and shouts. He somehow managed to load it onto his back. When he arose, they looked like a two-headed monster. The muddigger's head darted to and fro above Leviki’s; the animal took hold of Leviki's shoulders with its upper fangs and used its lower fangs to grasp at his waist. Its tail was still encircling Leviki’s feet and his legs were now visibly trembling under the muddigger's weight; the animal must have weighted at least a hundred kilos! We were silenced by this fantastic image. We could hear Leviki absently repeating: »We, Bata, we are living proof, we …«

Poor Leviki could no longer stand the burden. He staggered, collapsed on the muddigger and closed his eyes. The animal slowly spread its fangs. It laid the feeble, unconscious zoologist on the desk with great caution. It drew its fangs towards its chest and rested, also leaning against the desk, balancing its body so that it could, as I noticed, free Leviki's legs. It then accidentally grazed the surrounding chairs with the tip of its tail and they flew into the corner where most of the scared zoologists were hiding. I retreated to the closest wall. From there, I could see the delicacy of the muddigger’s moves as it lifted its long thick tail onto the desk and curled it into a spiral. In this position, the animal could stand erect, and while it was making itself comfortable on the desk, I swear I heard it say: “Just a second”.

We were dumbfounded. The great muddigger has no mouth, he does not talk! I stared at his head and kept looking for a crevice that would indicate lips or a mouth, but only later, when the animal spoke again – and there are witnesses who can confirm it – did I notice that the sound was coming from the area of his lung ventricles. These were words, incredibly articulated speech in fact, of the great muddigger who sat on the desk like a Turk!!

Let me add before I continue my transcript that the creature sat and stared at the listeners until the very end while our eyes kept wandering towards the unconscious Leviki in disbelief; as if we were still hoping that it was him who was really doing the talking.


THE GREAT MUDDIGGER’S EXPLICATION – TRANSCRIPT

Dear Sirs,
Let me conclude Leviki's explication with arguments that, as mentioned earlier, support his tragic and most important realisation about my species: our intelligence indeed failed to prevent our near-extinction. While the language of experts does not hesitate to incorporate individual death into the so-called extinction of species, I am forced to resent this objectification, even though I understand it is used for scientific purposes only; after all, I am talking about my own death. My intention is not to avoid the language of zoology but to use it in order to present my personal discoveries. Let me therefore recite my own estranged necrology.

The great muddigger inhabits areas that have been irreversibly changed by global warming effects. The fatal strike was delivered by human “management”; intense farming and urbanisation have dried out the swamps, and those located in continental climate zones are disappearing both because of “artificial” and “natural” desiccation. In the past, Ljubljansko Barje was no exception. Nowadays, it is commonly recognised as a very unique habitat since it is the great muddiggers’ and many other species last resort. It is also quite hot and dry.

Since I believe that my physical construction and inability to adjust to a new environment are largely responsible for my near-extinction, I am first going to focus on the muddigger’s physiognomy; especially his ability – or rather, my inability – to move. As you can see, the body of an adult muddigger can reach up to three meters in length, including the tail. Because of his weight – I weigh a hundred and fifteen kilos – my body is most supple in thick and relatively shallow water. When I move through the swamps and pools my paired fangs are of great help. I use them to push myself against the ground, to crawl on drenched banks and as of late, also to walk on concrete stairs where my tail, for example, is absolutely useless.

In the past, before I was classified as an amphibian, many researchers were intrigued by my breathing techniques. They noticed I use several; I can breathe under water and I can breathe with lungs which are, like humans’, positioned in the upper part of my body. Later, researchers correctly concluded that my second breathing organ are my three head gills, also known as ‘haircut’ in zoologists’ jargon, and my skin pores, the latter enabling me to breathe, feel and also to regulate temperature, secrete bodily fluids, supply humidity and microorganisms. If my skin pores cannot provide sufficient humidity, I am threatened by dehydration. In dry conditions my velvet skin becomes harder, darker, and a new leathery layer with limited capacity of exchange forms: it disables the humidity flow in order to lessen evaporation. Partial dehydration is accompanied by symptoms which are normally observed in hibernation.

In short, all this meant that it was getting more and more difficult to move through the desiccated swamps. The times when I could swim on my stomach and relax were gone; I had to get used to swimming on my back in order to expose to the ground as much of my skin as possible. Since my fangs became redundant, I had to adopt a snake-like technique of movement. Since my field of view was radically lessened I was stranded and stuck in a muddy landslip more than once. When I swam on my back, I simply didn’t notice those small and tricky pools. My weight and my serpentine moves only pushed me deeper into the landslip.

Two years ago, I was saved from a landslip by your colleague Leviki. Our second and third encounter was similar to the first; either Bata or I were stuck in the mud. We were aware of the danger we faced each time - maybe that is why we became such good friends. I especially enjoyed the period when we were trying out new, safer ways to move. For instance, since serpentine movement, especially on my back, was not really effective, we came up with the idea that I should try contracting my muscles like a caterpillar. It worked but unfortunately I had to give up on that technique because of the terrible back pain it caused. Then, one day, Leviki suggested that I move to his place. I thought the idea was absurd. He spoke about the flat before and I knew that the house he rented by the highway ring was really small and entirely dry. The only appropriate place for soaking would be the bathtub and since it was really too small for me, I had to refuse his offer.


On the move ...  

The following summer was hot and dry, and seemed endless. I was constantly thirsty, dizzy and tired. The buckets of water Leviki brought from his house could not satisfy my skin's thirst. I could hardly recognise my darkened and heavy body. I started to compare my fate with the dinosaurs' who, as you know, died out because their bodies became impractical. I realised I was dying. In the mean time, Leviki kept visiting me and convincing me that his house would protect me from the merciless sun. So I went with him. His home was really small and uncomfortable but I started feeling better there. I could not have dreamt then that one day – today – I would finish Leviki's speech at the XII. International Congress of Zoology!

I do not fancy myself; my intellectual activities and my example cannot save my species. After all, I have made a move which is impossible for muddiggers who are not encouraged and supported by their friends. All I know is that I and poor Leviki are living proof of interspecies symbiosis. Even of love.

Needless to say, I do miss the swamps, their spaciousness, vegetation and the taste of microorganisms. Sometimes, I find myself crawling on the carpeted floor, thinking that this is how I can taste the precious food again. But I have made a decision and I intend to stick to it. So even though I may be turning into a human being, I will live, whether you believe it or not, until I die!

Thank You for Your time and attention. I am ready for Your questions.

(End of the transcript. – Note by S. Sense.)

No questions were asked. Zoologists were leaving the room in complete silence. The great muddigger turned towards me and nodded. I asked him if I could help him carry the unconscious Leviki out of the building. He thanked me, but said there was no need.



Written and translated by Tea Hvala. Sculpted and photographed by Damijan Kracina.

15. mar. 2008

Zamotane družine

Če bi Roberto Gregory (1953), pionirko ameriškega lezbičnega stripa, vprašala, zakaj svoji junakinji Bitchy Butch v nobeni od štiridesetih epizod serije Naughty Bits ni privoščila radosti družinskega življenja, bi v najboljšem primeru pogledala mačko, ki dremlje na kavču, v najslabšem pa bi se namesto avtorice – in to ne bi bilo prvič – iz kadra oglasila kar Bitchy Butch: »Jaz pa družina!? Krava zmešana! Sploh veš, kdo sem!?«. Vem, vem, The World's Angriest Dyke! Živela si med leti 1991 in 2004, že v prvi epizodi si bila jezna na ves svet, sama sebi si se zdela stara, Roberta Gregory pa te je v vsaki naslednji izdaji samo še postarala… in razložila, da ves tvoj bes izvira iz razočaranja nad lezbičnim gibanjem, ki je »v starih časih« znalo za šalo obkoliti, osramotiti in pregnati še tako vztrajne katoliških protestnike proti splavu, lezbijkam in satanistom, »dandanes« pa se lezbijke gibljejo samo v ledjih, zberejo se samo še ob nanizanki The L-Word, potem pa se pogovarjajo o partnerkah in otrocih. Za bruhat, rečeš, nahraniš mačko in prižgeš televizor...

Podobno kot Bitchy Butch, tudi legendarna Hothead Paisan: Homicidal Lesbian Terrorist (podnaslov serije je: Comics for the Fed Up - Way Cheaper than Therapy) ameriške risarke Diane DiMassa (1959), ki jo je v teh krajih prva predstavila revija Lesbo, živi z mačko in stavi na bes. Z razliko, da njena mačka Chicken ne molči, temveč brez dlake na jeziku stresa cinične opazke. Skupaj z vročekrvno in morilsko razpoloženo lezbično teroristko vse od leta 1993 namerno potrjujeta strereotipe o jeznih lezbijkah, ki sovražijo moške, še bolj pa strejt ženske in tiste babure, ki skesane pridejo k lezbijkam potem, ko so jih razočarali moški. Za obe besni stripovski anti-junakinji je značilna samoironija in smešenje vseh pravil, pa naj gre za tista, ki jih postavlja veljavna morala, ali pač tista, ki nastanejo znotraj levičarskih lezbičnih skupin in da, celo znotraj lezbičnih družin. S tem obe stripovski seriji izpolnjujeta osnovi pogoj za kvalitetno in zabavno branje, hkrati pa njun radikalizem ustreza bralkam in bralcem z zelo specifičnim okusom, recimo takšnim, ki stripa o tem, kako Hothead Paisan v pedagoške namene posili moškega, ker si je drznil brez strahu hoditi po nočnih ulicah (moški objokan zaključi, da zanj »nikoli več ne bo, kot je bilo«), ne bodo razumeli dobesedno.

Posiljeni možakar ima prav. Danes si je, posebej v Sloveniji, težko zamisliti lezbično stripovsko junakinjo s podobno ostrino. Ne gre samo za to, da je prišlo do politične diferenciacije in znatnega premika v desno, »zlato sredino«, domače avtorice in avtorje, ki rišejo stripe z lezbičnimi ali gej vsebinami, žal lahko preštemo na prste ene… poškodovane roke. Revija Lesbo je pred davnimi časi objavljala ilustracije Petre Varl in v obdobju 2000 – 2002 (št. 9 - 18) serijo (dvo)pasičnih stripov Borisa Benka Eva van Dyke. Čeprav je bil, kot kaže, Benko prvi, ki je v Sloveniji narisal strip o lezbijki, bi bilo Evo van Dyke tvegano proglasiti za prvi slovenski lezbični strip. Pa ne zato, ker ga je narisal moški, temveč zato, ker glavna junakinja ni Eva, temveč prvoosebni pripovedovalec, ljubek strejt fižolček z lulčkom, ki k Bogu in Evi toži zaradi njene spolne nedosegljivosti. Najbolj sveže ilustracije s stripovsko estetiko, lezbično vsebino in na trenutke absurdnim smislom za humor je narisala Katerina Kalc. Njene risbe popestrijo informativni knjižici Homofobija ni kul in Ljubezen je ljubezen Maje Pan, izdani lani pri Amnesty International Slovenija. V omenjenih brošurah zakon o registraciji istospolne skupnosti najbolj posrečeno komentira ilustracija dekleta, ki kleči pred nosečo žensko (v ozadju slike je parkiran registriran avtomobil) in jo za roko prosi z besedami »Draga, ali bi me ti registrirala?«. Radikalizem? Mnogo bližji bi mu bil komentar, ki bi izraz istospolna ali katerakoli druga družinska skupnost razumel v širšem, komunitarnem, pa tudi slovarskem smislu: torej kot nekaj, kar je sestavljeno iz več ljudi, ki jih družijo in povezujejo skupne lastnosti, potrebe, cilji, in tvori celoto. Torej kot priznanje večstarševske družine, ki ne zamaja samo predstave o »dvospolni« družini, ampak tudi legitimnost predstave o nuklearni družini kot najboljši možni skupnosti. Tudi strip Karoline Bång Kako je izginila nuklearna družina – utopija za hip izbriše samoumevnost takšne družine, le da jo pretresa z utopične in queer, morda najbolj radikalne perspektive.
Karoline Bång: Kako je izginila nuklearna družina

Karolina Bång je štiriindvajsetletna »queer grrrl« iz Švedske. Študira v Malmu na eni od (tudi v svetovnem merilu) redkih umetniških šol, posvečenih stripu in ilustraciji. Zato, pa tudi zaradi številnih samoizdaj (recimo, fanzini Ghetto, Fetto in Pretto) in revijalnih objav, je Karolina na dobri poti, da postane poklicna risarka stripov, kar je tudi na Švedskem za večino stripovskih avtorjev, še bolj pa avtoric, ki vztrajajo pri lastni estetiki in nekomercialnih temah, malo verjetna kariera. Njeni stripi oblikovno niso eksperimentalne sorte in spoštujejo pravila, celo zelo dopadljivi so. Za bralko in bralca, ki hlepita po lezbičnem, queer ali feminističnem stripu, so dragoceni zaradi vsebine: Karolina riše stripe o političnih gibanjih (recimo strip Queer Nation, ki je v angleščini izšel v 46. številki revije za strip Stripburger), umetniških skupinah (npr. Guerilla Girls) in družbeni dimenziji lezbične identitete, kar je prava redkost, saj v neodvisni stripovski produkciji, tudi lezbični in gej, odločno prevladujejo avtobiografske ljubezenske zgodbe. V politične in osebne zgodbe (da ne bo nesporazuma, tudi ona kdaj nariše strip o nesrečni ljubezni) vnaša svežino in pogled, ki je dovolj oddaljen, da se lahko poigra tudi z utopično perspektivo sveta, obrnjenega na glavo.



Alison Bechdel: Fun Home: A Family Tragicomic

Da pa je tudi »povsem navadna« družina v realistični pripovedi lahko obrnjena na glavo, dokazuje Alison Bechdel (1960), ameriška avtorica stripov, ki je najbolj znana po odlični seriji Dykes To Watch Out For. Pred dvema letoma je nuklearni družini, posebej očetovstvu, posvetila 232-stranski avtobiografski album z naslovom Fun Home: A Family Tragicomic. Tragikomika izvira iz dvojnega življenja njenega očeta; hčerka ga pozna kot zglednega očeta, izobraženca, učitelja angleščine, strastnega aranžerja in restavratorja. Drugo plat, njegovo ljubezen do mladeničev, ji oče dolgo prikriva, celo potem, ko mu sama pri osemnajstih prizna, da je lezbijka. Njun zamotan odnos premleva še dolgo po njegovi prerani smrti, v stripu Fun Home pa ga vzporeja z odnosom med Dedalom in Ikarjem, ki je, ker ni upošteval očetovega sveta, zgrmel v prazno… Če si za konec še jaz sposodim njun mit, je Ikar padel v tisto praznino, ki čaka vsakega čudaškega in nepokornega otroka, ne glede na to, ali je odrasel v eno, dvo ali trispolni in starševski družini.

P.S. Vsi omenjeni stripi so dostopni v Lezbični knjižnici na Metelkovi.

Prvič objavljeno v reviji Narobe #5 (marec 2008).

1. mar. 2008

"Mesto dečkov" na Radiu SLO III

Nisem tvoja mati, je rekla, ukradla sem te z žimnice v središču mesta, takoj za vogalom, kjer ležijo in ščijejo vsi pijanci in kličejo na pomoč in nihče ne posluša. Rešila sem te, reče, a se dobro spomnim poti do sem, avta polnega ljudi polnih droge, večina vsaj, in spomnim se, kako me je našla pred vhodom v porno kino na križišču 98. ulice in Broadwaya in me potegnila proč od pogledov kakih štiristo radovednih Portoričanov. Mar tvoja mati ve, kje si? je rekla. Zasmejala sem se in rekla, Moja mati ve toliko, kot ji je treba in je rekla, Pridi z mano domov, hočem da nekoga spoznaš. Ko me je pripeljala domov, je velikemu dedcu, ki je ležal na kavču in gledal televizijo rekla, Tito, to je Mila princesa in Tito je dvignil težko glavo s konca kavča in rekel, Princesa pa taka.

(Beth Nugent, Mesto dečkov)


Foto: Bruce Davidson



Vabljena, vabljen k poslušanju radijske oddaje Literarni portret, v kateri bo predstavljena ameriška pisateljica Beth Nugent. Predvajan bo odlomek iz njene kratke zgodbe Mesto dečkov (1992) v mojem prevodu.


V ponedeljek, 10. marca 2008 ob 22.05 na III. Programu Radia Slovenija.