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  • @ Ground Zero
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Imagine the world's creative economy at your fingertips. Imagine 10 doors side-by-side. Beyond each, 10 more, each opening to a "creative" somewhere around the planet. After passing through 8 such doorways you will have followed 1 pathway out of 100 million possible (2 sets of doorways yield 10 x 10 = 100 pathways). This is a simplified version of the metamathematics that makes it possible to reach everybody in the global creative economy in just a few steps It doesn't mean that everybody will be reached by everybody. It does mean that everybody can  be reached by everybody.


Appear below by recommending Geraldine Inoa:

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Why a "Matrix"?

 

I was explaining the ideas behind this nascent network to (João) Teoria (trumpet player above) over cervejas at Xique Xique (a bar named for a town in Bahia) in the Salvador neighborhood of Barris...

 

Like this (but in Portuguese): "It's kind of like Facebook if it didn't spy on you, but reversed... more about who you don't know than who you do know. And who doesn't know you but would be glad if they did. It's kind of like old Myspace Music but instead of having "friends" it has a list on your page of people you recommend. Not just musicians but writers, painters, filmmakers, dancers, chefs... anybody in the creative economy. It has a list of people who recommend you, or through whom you are recommended. It deals with arts which aren't recommendable by algorithm but need human intelligence behind recommendations. And the people who are recommended can recommend, creating a network of recommendations wherein by the small world phenomenon most people in the creative economy are within several steps of everybody else in the creative economy, no matter where they are in the world..."

 

And João said (in Portuguese): "A matrix where you can move from one artist to another..."

 

A matrix! That was it! The ORIGINAL meaning of matrix is "source", from "mater", Latin for "mother". So the term would help congeal the concept in the minds of people the network was being introduced to, while giving us a motto: "We're a real mother for ya!" (you know, Johnny "Guitar" Watson?)

 

The original idea was that musicians would recommend musicians, the network thus formed being "small world" (commonly called "six degrees of separation"). In the real world, the number of degrees of separation in such a network can vary, but while a given network might have billions of nodes (people, for example), the average number of steps between any two nodes will usually be minuscule.

 

Thus somebody unaware of the magnificent music of Bahia, Brazil will be able to conceivably move from almost any musician in this matrix to Bahia in just a few steps...

 

By the same logic that might move one from Bahia or anywhere else to any musician anywhere.

 

And there's no reason to limit this system to musicians. To the contrary, while there are algorithms written to recommend music (which, although they are limited, can be useful), there are no algorithms capable of recommending journalism, novels & short stories, painting, dance, film, chefery...

 

...a vast chasm that this network — or as Teoria put it, "matrix" — is capable of filling.

 

@ Ground Zero

 

Have you, dear friend, ever noticed how different places scattered across the face of the globe seem almost to exist in different universes? As if they were permeated throughout with something akin to 19th century luminiferous aether, unique, determined by that place's history? It's like a trick of the mind's light (I suppose), but standing on beach or escarpment in Salvador and looking out across the Baía de Todos os Santos to the great Recôncavo, and mindful of what happened there, one must be led to the inevitable conclusion that one is in a place unique to history, and to the present*.

 

 

"Chegou a hora dessa gente bronzeada mostrar seu valor / The time has come for these bronzed people to show their value..."Música: Assis Valente of Santo Amaro, Bahia. Vídeo: Betão Aguiar.

 

*More enslaved human beings entered the Bay of All Saints and the Recôncavo than any other final port-of-call throughout all of mankind's history.

 

These people and their descendants created some of the most uplifting music ever made, the foundation of Brazil's national art. We wanted their music to be accessible to the world (it's not even accessible here in Brazil) so we created a platform by which everybody's creativity is mutually accessible, including theirs.

 

El Aleph

 

The network was built in an obscure record shop (Kareem Abdul-Jabbar found it) in a shimmering Brazilian port city...

 

...inspired in (the kabbalah-inspired fiction of) Borges' (short story) El Aleph, that in the pillar in Cairo's Mosque of Amr, where the universe in its entirety throughout all time is perceivable as an infinite hum from deep within the stone.

 

It "works" by virtue of the "small-world" phenomenon...the same responsible for the fact that most of us 7 billion or so beings are within 6 or fewer degrees of each other.

 

It was described (to some degree) and can be accessed via this article in British journal The Guardian (which named our radio of matrixed artists as one of ten best in the world):

 

www.theguardian.com/travel/2020/apr/17/10-best-music-radio-station-around-world

 

With David Dye for U.S. National Public Radio: www.npr.org/2013/07/16/202634814/roots-of-samba-exploring-historic-pelourinho-in-salvador-brazil

 

All is more connected than we know.

 

Per the "spirit" above, our logo is a cortador de cana, a cane-cutter. It was designed by Walter Mariano, professor of design at the Federal University of Bahia to reflect the origins of the music the shop specialized in. The Brazilian "aleph" doesn't hum... it dances and sings.

 

If You Can't Stand the Heat

 

Image above is from the base of the cross in front of the church of São Francisco do Paraguaçu in the Bahian Recôncavo

 

Sprawled across broad equatorial latitudes, stoked and steamed and sensual in the widest sense of the word, limned in cadenced song, Brazil is a conundrum wrapped in a smile inside an irony...

 

It is not a European nation. It is not a North American nation. It is not an East Asian nation. It straddles — jungle and desert and dense urban centers — both the equator and the Tropic of Capricorn. Brazil absorbed over ten times the number of enslaved Africans taken to the United States of America, and is a repository of African deities (and their music) now largely forgotten in their lands of origin. It was a refuge (of sorts) for Sephardim fleeing an Inquisition which followed them across the Atlantic (that unofficial symbol of Brazil's national music — the pandeiro — was almost certainly brought to Brazil by these people). Across the parched savannas of the interior of Brazil's culturally fecund nordeste/northeast, where wizard Hermeto Pascoal was born in Lagoa da Canoa (Lagoon of the Canoe) and raised in Olho d'Águia (Eye of the Eagle), much of Brazil's aboriginal population was absorbed into a caboclo/quilombola culture punctuated by the Star of David. Three cultures — from three continents — running for their lives, their confluence forming an unprecedented fourth. Pandeirista on the roof. Nowhere else but here.

 

Oligarchy, plutocracy, dictatorships and massive corruption — elements of these are still strongly entrenched — have defined, delineated, and limited Brazil.

 

But strictured & bound as it has been and is, Brazil has buzz...not the shallow buzz of a fashionable moment...but the deep buzz of a population which in spite of — or perhaps because of — the tough slog through life they've been allotted by humanity's dregs-in-fine-linen, have chosen not to simply pull themselves along but to lift their voices in song and their bodies in dance...to eat well and converse well and much and to wring the joy out of the day-to-day happenings and small pleasures of life which are so often set aside or ignored in the European, North American, and East Asian nations.

 

For this Brazil has a genius perhaps unparalleled in all other countries and societies, a genius which thrives alongside peeling paint and holes in the streets and roads, under bad organization by the powers-that-be, both civil and governmental, under a constant rain of societal indignities...

 

Which is all to say that if you don't know Brazil and you're expecting any semblance of order, progress and light, you will certainly find the light! And the buzz of a people who for generations have responded to privation at many different levels by somehow rising above it all.

 

"Onde tem miséria, tem música!"* - Raymundo Sodré

 

And it's not just music. And it's not just Brazil.

 

Welcome to the kitchen!

 

* "Where there is misery, there is music!" Remarked during a conversation arcing from Bahia to Haiti and Cuba to New Orleans and the south side of Chicago and Harlem to the villages of Ireland and the gypsy camps and shtetls of Eastern Europe...

 

From Harlem to Bahia



  • Geraldine Inoa
    I RECOMMEND

CURATION

  • from this node by: Sparrow/Pardal

This is the Universe of

  • Name: Geraldine Inoa
  • City/Place: Los Angeles
  • Country: United States

Life & Work

  • Bio: Geraldine Elizabeth Inoa is a writer for theater and television. Her play SCRAPS had its world premiere production at the Flea Theater as part of its 2018/19 season, marking her professional debut. SCRAPS made its West Coast premiere at The Matrix Theatre in Los Angeles during summer 2019.

    As a playwright, she is an alumnus of The Public Theater's Emerging Writers Group and the inaugural recipient of The Shonda Rhimes Unsung Voices Playwriting Commission. She is a L. Arnold Weissberg New Play Award finalist, a P73 Playwriting Fellowship finalist, and a twice-named Eugene O’Neill National Playwrights Conference semifinalist. Her work has been developed at the Atlantic Theater Company and the Labyrinth Theater Company.

    She holds a B.A. from New York University’s Gallatin School of Individualized Study. She resides in Los Angeles with her dog Alfred.

Contact Information

  • Management/Booking: Theater:
    Chris Till
    [email protected]

    Television:
    Matthew Doyle
    [email protected]

    Film:
    Nicholas Mohebbi
    [email protected]

    TV/Film Management:
    Britton Rizzio
    [email protected]
    Lauren Dineley
    [email protected]

Media | Markets

  • ▶ Website: http://www.geraldineinoa.com
  • ▶ Article: http://www.latimes.com/entertainment-arts/story/2019-07-28/african-american-playwrighting-new-era-geraldine-inoa-scraps-dionna-m-daniel-gunshot-medley-part-1-discover-the-future-in-the-past
  • ▶ Article 2: http://chicago.splashmags.com/index.php/2019/07/11/scraps-review-the-people-left-behind/

More

  • Quotes, Notes & Etc. NY Press for SCRAPS

    "This ambitious, vibrant new play—written by Geraldine Inoa and directed by Niegel Smith—is performed without an intermission, but it has two distinct, contrasting acts. The first is set on a trash-strewn stoop in Bed-Stuy, four months after the shooting of a black teen-ager from the neighborhood by a white cop. A series of beautifully written scenes involving four people who were close to the young man—played by Roland Lane, Tanyamaria, Alana Raquel Bowers, and Michael Oloyede, all members of the Bats ensemble—powerfully and passionately convey the sadness, anger, tension, and despair of the tragedy." - The New Yorker

    "Ms. Inoa, a playwright to watch melds various styles here, moving from the rap opener to a naturalistic first act. The second act...shifts into the unsettling, urgently heightened landscape of Sebastian's nightmare. You can feel the influences here — Branden Jacobs-Jenkins, Spike Lee and James Scruggs come to mind — Ms. Inoa nonetheless uses them in service of her own sharp vision." - The New York Times

    "A passionate new voice screaming to be heard." - Time Out New York

    “The play is gloriously black. It welcomes people from all cultural and racial backgrounds, but lets us know we're guests in this space. The characters in Inoa's Brooklyn aren't there to educate or enlighten white people, they're not there to be mere morality tales, they're there to exist, to be given opportunities they might not be given in real life. They are there to be listened, not argued or conversed with.” - Talkin’ Broadway

    LA Press for SCRAPS

    “...Magnificently written and directed… We can only hope society can change for the better thanks to such thought provoking work by artist destined for greatness… A show not to miss.” — Broadway World

    “Stunning… [a] remarkable ensemble of actors. Miss Inoa's voice isn't one you've heard in the theater before but if we're going to make sense of racism and the violence against innocent black men, hers is an essential voice.” — KCRW 89

    “Provocative… Inoa’s language is authentic and often raw, both lofty and nightmarish… Stevie Walker-Webb does deeply committed work directing this increasingly hallucinatory confection…. A forceful play about slavery’s legacy” “This is unforgettable theater” — People’s World

    “Bold, timely hotblooded… This important, extraordinary, affecting play, featuring a superb cast of actors given keen direction by Stevie Walker~Webb, must be seen.” — Theatre Notes
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We're a real mother for ya!

 

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