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  • @ Ground Zero
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  • From Harlem to Bahia

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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 Intisar Abioto:

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  • Intisar Abioto
    Adriene Cruz → Textile Artist has been recommended via Intisar Abioto.
    • August 25, 2020
  • Intisar Abioto
    Adriene Cruz → Tapestry Crochet has been recommended via Intisar Abioto.
    • August 25, 2020
  • Intisar Abioto
    Adriene Cruz → Quilts has been recommended via Intisar Abioto.
    • August 25, 2020
  • Intisar Abioto
    Adriene Cruz → Portland, Oregon has been recommended via Intisar Abioto.
    • August 25, 2020
  • Intisar Abioto
    A category was added to Intisar Abioto:
    Storyteller
    • August 25, 2020
  • Intisar Abioto
    A video was posted re Intisar Abioto:
    My Creative Lens | Intisar Abioto | TEDxPortland
    Intisar has had a stutter since she was six years old. She found "her voice" through the creative lens of her camera. She explores the state of Black Portland in the Rose City in a beautifully artistic manner - her pictures tell a thousand words. Inti...
    • August 25, 2020
  • Intisar Abioto
    A video was posted re Intisar Abioto:
    Intisar Abioto: The Black Portlanders
    Intisar Abioto at CreativeMornings Portland.
    • August 25, 2020
  • Intisar Abioto
    A category was added to Intisar Abioto:
    Dancer
    • August 25, 2020
  • Intisar Abioto
    A category was added to Intisar Abioto:
    Journalist
    • August 25, 2020
  • Intisar Abioto
    A category was added to Intisar Abioto:
    Writer
    • August 25, 2020
  • Intisar Abioto
    A category was added to Intisar Abioto:
    Portland, Oregon
    • August 25, 2020
  • Intisar Abioto
    A category was added to Intisar Abioto:
    Photographer
    • August 25, 2020
  • Intisar Abioto
    Intisar Abioto is matrixed!
    • August 25, 2020
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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...

 

And João said (in Portuguese), repeating what I'd just told him, with one addition: "A matrix where musicians can recommend other musicians, and you can move from one 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



  • Intisar Abioto
    I RECOMMEND

CURATION

  • from this node by: Sparrow/Pardal

This is the Universe of

  • Name: Intisar Abioto
  • City/Place: Portland, Oregon
  • Country: United States
  • Hometown: Memphis, Tennessee

Current News

  • What's Up? Storytelling, dreams, history, memory, geography, and choreography are at the root of my practice. My mediums are cross-disciplinary. The tools are what can be found at hand. I was a dancer, first; a writer, second; a photographer, third; and a human body wending her way through space and time always. This sense of the body in space .. both sensing and affecting the landscape is my way. This is choreography. This, too, is the body aware of all her sensors and in every direction. This, too, is precognition .. to hear the story that could be from all around you.. all that is known and unknown, immediately sensed and not. If a photograph is a stamp, one packet in time's knowledge, then this is a weaving of information across geographic and temporal existence. I hope the path taken is one of connection, an ever an emboldening of life, care, and love through our image.

Life & Work

  • Bio: Intisar Abioto (b. Memphis, TN. 1986) is an explorer-artist working across photography, dance, and writing. Moving from the visionary and embodied root of Blackgirl Southern cross-temporal cross-modal storytelling ways, her works refer to the living breath/breadth of people of African descent against the expanse of their storied, geographic, and imaginative landscapes. Working in long-form projects that encompass the visual, folkloric, documentary, and performing arts, she has produced The People Could Fly Project, The Black Portlanders, and The Black. Co-created with her four artist sisters, The People Could Fly Project, was a 200,000-mile flying arts expedition exploring realities of flight and freedom within the African diasporic myth of the flying African and Virginia Hamilton’s award-winning book, The People Could Fly.

    Abioto is the recipient of a 2018 Oregon Humanities Emerging Journalists, Community Stories Fellowship for which she began a continuing body of research on the history of artists of African descent in Oregon. She has performed and/or exhibited at Ori Gallery, Portland Art Museum, Duplex Gallery, Photographic Center Northwest, African American Museum in Philadelphia, Poetry Press Week, Design Week Portland, Spelman College, Powell’s City of Books, University of Oregon White Box Gallery, Portland State University, Reed College, and Zilkha Gallery among others. Selected for an Art in the Governor’s Office solo exhibition in 2019 she exhibited and performed with nine Oregon-based Black artists against the inner expanse of the Oregon State Capitol building in Salem OR. Her publication Black Portlands documents interviews with Black Portlanders alongside her photographs. She was a contributing photographer to MFON: Women Photographers of the African Diaspora (2017) and her photographs illustrated the Urban League of Portland’s State of Black Oregon 2015. With the five women artists in her family, she is the co-founder of Studio Abioto, a multivalent creative arts studio. She lives in Portland, Oregon.

Contact Information

  • Contact by Webpage: http://www.intisarabioto.com/contact

Media | Markets

  • ▶ Twitter: intisarabioto
  • ▶ Instagram: intisarabioto
  • ▶ Website: http://www.intisarabioto.com
  • ▶ Website 2: http://theblackportlanders.com
  • ▶ Article: http://www.nytimes.com/2020/08/23/arts/design/black-artists-portland.html
  • ▶ Articles: http://www.intisarabioto.com/cv

More

  • Quotes, Notes & Etc. Selected Solo Exhibitions

    2020
    BabeSis, Aunts Ten, Ms. W, Miss Choomby .. & In Our Company. Forest for the Trees, Portland OR

    2019
    Black Legend, Black, Oregon, Office of The Governor, Oregon State Capitol, Salem OR

    2017
    Black Portlanders, Black Portlands, Littman Gallery, Portland State University, Portland OR
    The Black, University of Oregon White Box Gallery, Portland OR

    2016
    The Black Portlanders, Reed College, Portland OR.

    2015
    Contents, Duplex Gallery, Portland OR
    The Black Portlanders, Powell’s City of Books, Backlight Corner Gallery, Portland OR

    2013
    The People Could Fly, Multnomah County Public Library, Portland OR

    2009
    The People Could Fly, Zilkha Gallery, Wesleyan University, Middletown CT

    Selected Group Exhibitions

    2020
    Spirit Women: Adriene Cruz & Intisar Abioto, Oregon State University, Corvallis OR
    Passages in the Black Diaspora, Photographic Center Northwest, Seattle WA

    2019
    In Between: Hank Willis Thomas & Intisar Abioto, RACC Public Art Installation, Portland OR
    An Altar to Alter, Portland In Color, Portland Art Museum, Portland OR
    In Conversation: Visual Meditations on Black Masculinity, African American Museum in Philadelphia, Philadelphia PA
    Brown Sugar: Where We At, Tips on Failing, Portland OR

    2018
    Resistance, Multnomah County Public Library, Portland OR
    Elements of Reclamation, Ori Gallery, Portland OR

    Selected Performance

    2019
    Sugar Lee / Brown Sugar: Where We At, Tips on Failing, Portland OR
    Black Legend, Black, Oregon: Black Artists at the Capitol, Office of The Governor, Oregon State Capitol, Salem OR

    2017
    Moving Through Darkness,This Is A Black Spatial Imaginary, Paragon Gallery, Portland OR

    2016
    In Response to Fujikasa Satoko’s Flow #1, Portland Art Museum
    A Reading, Poetry Press Week. Disjecta Contemporary Art Center, Portland OR

    2014 Story Design, A Danced Treatise on Story as Act of Place, Design Week Portland

Clips (more may be added)

  • 0:14:04
    My Creative Lens | Intisar Abioto | TEDxPortland
    By Intisar Abioto
    159 views
  • 0:35:24
    Intisar Abioto: The Black Portlanders
    By Intisar Abioto
    142 views
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