“Gut Sounds Lullaby” in Antennae #32

“Gut Sounds Lullaby” is an assay based in performance work that tangles with equine gut sounds, radical theory of Karen Barad, and performative acts of listening with Melanie Moser, Possible, and a party pony named Fireball. It is published in the current issue of Antennae: A Journal of Nature in Visual Culture: http://www.antennae.org.uk/

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Multispecies Salon, the book!

At last the wonders of the traveling Multispecies Salon is available in portable form, in both traditional physical codex and electronic book formats. Duke University Press has published The Multispecies Salon, a collection edited by Eben Kirksey and featuring works by Caitlin Berrigan, Karin Bolender, Donna J. Haraway, Lindsay Kelly, Dorian Sagan, Miriam Simun, Kim Tallbear, Anna Tsing, and others. The book features provocative ideas about present and future relations between earthly species and even a few tasty recipes for biopolitical interventions. My chapter, RAW Assmilk Soap, traces the figures and metaphors embedded in the making of a rarefied soap, which holds all the questions and hopes of more than a decade spent searching for and making homes with a family of American Spotted Asses.

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Triage: Christine Toth, with Karin Bolender and Craig Goodworth

 	 Triage: three artists sort shifting emergencies of bodies, language, and spaces between, revealing places of opacity, refuge, and intimacy. Triage Christine Toth with Karin Bolender & Craig Goodworth Exhibition Dates: September 5 - 28, 2013

Triage: three artists sort shifting emergencies of bodies, language, and spaces between, revealing places of opacity, refuge, and intimacy.

Christine Toth
with Karin Bolender & Craig Goodworth

Exhibition Dates:
September 5 – 28, 2013

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R.A.W. Assmilk Soap: the last batch?


If not the last, this batch is certainly the culmination of all the main questions, hopes, and mammalian interconnections that Assmilk Soap is meant to contain. Made in May 2013, this batch of Assmilk Soap holds Passenger’s milk, which she made on the Big Ass Family Road Trip and in the months after our arrival in California; three generations of assfur, from Aliass, Passenger, and Nicholass Moon; and human milk, straight from the R.A.W. source, along with the usual vegetable fats and lye, of course.

This special batch of R.A.W. Assmilk Soap will be traveling to Sydney, Australia this summer to be part of Intra-action: Multispecies Becomings in the Anthropocene, an exhibition of works by artists who reckon in diverse ways with relations among earthly inhabitants.

This soap will also appear in Portland, Oregon, June 6-29, at Gallery 114. It will be part of a show called +1, in which gallery-affiliated artists each invite a non-member artist to show with them. RAW will be showing with sublime encaustic painter Christine Toth.

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Gut Sounds Lullaby

Still from Gut Sounds Lullaby video, shot by Sean Cummings

“Gut sounds” is a term with significant resonances in American ass husbandry. Auscultation (i.e., listening) for gut sounds, or gastrointestinal motility, is a primary diagnostic tool in equine veterinary practice, where the presence or absence of normal gurglings (or borborygmus) in quadrants of an equine’s insides can carry big epistemological, emotional, and economic implications. Indeed, the resurgence of good gut sounds in a sick equine companion can make those otherwise vaguely obscene inner gurglings seem like the sweetest melodies on earth. On a more common level of experience, gut sounds are some of the first we all hear as mammals, as our ears start to function with months to go in utero and our brains begin to mesh with the sounds of the world that throb through the porous boundaries of maternal bodies.

Yet gut sounds are something we seldom attend to, even as their presence signals life and cessation means death. Living gut sounds surprise and sometimes even embarrass us with their immediacy, burbling up bigger questions of bodies’ unknowns and permeable boundaries. As they pass through layers of living flesh, gut sounds challenge common ontologies that assume certain boundaries between inside/outside, human/animal, and self /other. “Gut Sounds Lullaby” seeks to blur these boundaries, as we listen to strange and familiar hums on the insides of other beings. We invite listeners into an intricate and intimate auditory mesh, where gut-sounds phenomena fold and twist through questions of intra-species presence and responsibility. In this newfangled lullaby, sounds of normal borborygmus are remixed with layered resonances of old human melodies and addressed to an invisible but no-less-present human fetus, who we presume is listening on the other end of the intra-species transmission wires.

For Ethnographic Terminalia’s Audible Observatories exhibition at SOMArts in SanFrancisco, the “Gut Sounds Lullaby” consisted of two parts: a video/sound installation and a live performance. The video documents specific acts of R.A.W. ontological choreography and intra-actions amidst a herd of asses, a human woman, and others known and unknown. Set in a few different landscapes, these choreographies root in a ten-year relation between Karin Bolender and Aliass and other members of a multi-species family. R.A.W. choreographies seek to dig deep into certain wild discomforts with human acts of naming and the perpetuation of animal/human dichotomies. Each scene reflects particular tensions, longings, shames, and passions that flare up in conflict-ridden negotiations between human logos/language and raw experience of immersion in intra-species being.

The live performance at SOMArts (Saturday, November 17th from 1-3 p.m.) featured experimental musician Melanie Moser and the presence of Fireball, a miniature golden-palomino party pony. Melanie Moser performed live improvisation based on the “Gut Sounds Lullaby” score, a remixed version of a gnarly old lullaby known as “All the Pretty Little Horses” mixed with live and recorded gut sounds. The mix was broadcast by various wired and wireless technologies to the audience and through the Bolender belly interface to the human prenate. The performance was also broadcast live through Radio Transmission Ark.

Gut Sounds Lullaby performance: Melanie Moser (seated at right) plays loops and prerecorded gut and other sounds. The lullaby also included gut sounds from Fireball, recorded at the start of the performance and played throughout by Karin Bolender (left, with Fireball). Photo by Sean Cummings.


This project owes special gratitude to the generosity and life-saving care and dedication of equine veterinarians Dr. Alice Beretta in Northeast Georgia and Dr. Jessie Koenig in Orland, California.

“Gut Sounds Lullaby” takes place in conjunction with the American Anthropological Association’s special offsite event, “Multispecies Intra-Actions: A Roundtable with Karen Barad.” Click here for details. We also wish to thank our official sponsor,  Environmental Humanities.


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Domaci Veci/Domestic Matter show at Galerie Califia in Czech Republic

R.A.W. Assmilk Soap installation at Multispecies Salon, Ironworks, New Orleans, 2010. Photo by Sean Cummings.

R.A.W. Assmilk Soap was included this spring in a show called Domaci Veci/Domestic Matter, April 2 – May 8 at Galerie Califia in Horazdovice, Czech Republic, along with works by Barbara Benish, Cristina Corso, Lenka Klodova, and a collection of ArtMill students’ artist’s books. See photos from the opening on the Galerie Califia website.

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Katie Schofield’s Subtle Art of Rural Reclamation

You will seldom see the nest of an oriole, or a pair of pileated woodpeckers flying low, unless you are extremely diligent and know just what to look for. Even then, such spectacles are rare gifts, phenomena mostly hidden by mazes of branches and brambles, found only by muddy paths, or by none at all.

Katie Schofield’s sculptures work like this; they light up one’s natural sense of wonder as we come upon them unexpectedly, in the woods or a field, or hidden high in the barn eaves. Silent and unassuming but undeniably present–like the uncanny awareness that something might be looking at you as you are looking–Schofield’s cocoons and nests and fungally growths make openings for the wonder that comes when we rediscover the constant colorful weavings of the world we don’t usually pay attention to.  In other words, we get to see what is usually hidden, right around us always but mostly beyond our habitual attention. Such revelations of the world’s elegant complexity are as humbling as they are wondersome.

Schofield’s materials are the ordinary detritus of modern rural life: synthetic baling twine and shopping bags, cast-off feed sacks and plastic silage tarping. Into the sites where these materials are used and then disused, she imagines new forms for them, performing an imaginative integration whereby she weaves plastics and other inorganic materials into organically resonant forms. These forms remind us again of the surrounding world and its wonders that we might otherwise forget to admire.

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