User:HAJODA/sandbox

= HAJODA = HAJODA, sometimes known as DAJOHA, (born Somewhere Good, in the middle of Nowhere), is regarded as one of the most influential and idiosyncratic artists of the late 21st century. Specializing in hybrid forms of performance that stretch the boundaries of real and imagined encounters, they utilize retro-futurist technologies to enhance the well-being of their active participants. Their work could be described as an experience of pain and pleasure at the same time.

Life and Career
HAJODA has remained steadfastly anonymous, although a confirmed rumor maintains that there are always three active members of the group in every permutation. They have stated that they are time travelers from our present day that have performed in the future as well as the past. Their knowledge of unknown sciences and esoteric technologies suggests that their origins are from a distant future. Or perhaps they were born centuries ago. All we know is that they found a way to clone themselves, often during their performances using minds and bodies from their spectators.

The first known occurrence of HAJODA work was found at the Environmental Arts Facility in the Adirondack State Park of New York in the Autumnal Phase of 2087, and consisted of a 100-acre metal tree farm that had one natural tree planted amongst the metals, painted to look like a metal tree. The natural tree remained hidden until the Winter Phase of 2087 when it was the only tree to lose its leaves during the Cold.

Work
There are three distinct “Phases” of HAJODA work, though the boundaries between these Phases are porous and there is no set timeline that delineates one phase from another.

The Visible Phase
In this phase of HAJODA work, performances and occurrences occupied the visual realm, and questioned the act of seeing as a participatory art. Performances were often silent, and were heavily influenced by the early-20th century poetry style of “imagism”, the mid-21st century form of “non-theater”, and the ancient Japanese philosophy of “Jo-ha-kyū”. Some of their imagist occurrences included works of picture-based languages and closely resembled Mi’kmaq hieroglyphs or ideograms (see image here) These ideograms were used in conjunction with “yohaku” painting techniques and Jo-ha-kyū principles to enable a dialogue with their audience without actually speaking. This produced some very interesting but abstract visual renditions that were largely misunderstood by audience members due to the fact that they had no rosetta stone to accurately decipher the ideograms. The blank spaces between and around the hieroglyphs were intended to capture the spirit of the imagery and the metaphorical world around them. Furthermore, blank space is also known to represent depth and movement through time. HAJODA has permutations working simultaneously in different timelines.

The Invisible Phase
In this phase of HAJODA work, performances and occurrences examined the boundary between “performance” and “occurrence”. Much of their work in this period went unnoticed by the public, largely by design. The performances/occurrences of this phase consisted of soundwalks, ritual migrations, unanswered telecommunications, non-symphonies, and many one-audience-member participatory works. These soundwalks are a way of representing movement through time and space, which as far as we know is mostly internalized within the mind of each audience member. In other words, each person experiences these occurrences differently and at different points along the timeline of these occurrences, or perhaps the impact of specific occurrences are designed to only be felt by specific audience members while different simultaneous occurrences are felt by other audience members. The combination of all of these occurrences then build up the audience as a whole to experience something beyond the scope of what we perceive as reality;  A HYPER-REALITY IS BORN!

The Hallucinatory Phase
In this phase of HAJODA work, performances and occurrences tested the limits of reality and perception and audience agency. Participants were often invited to public spaces where a performance would occur that only they were aware of. A famous work of this phase is the 2099 piece “Liberty on Fire”, created in commemoration of the approaching 22nd century. Participants gathered illegally on New New York City’s Liberty Island and made one-match campfires around the base of the Statue. At midnight, mind-projection devices supplied to each participant enacted a vision of creeping flames that slowly overtook the entire Statue. When the participants awoke the next morning, they were shocked to hear that their Citizen Licenses had been revoked and that they were being investigated for unspecified “treasonous acts”. The next week was spent in and out of legal systems as they were speedily “tried” for “Conflagration of Liberty”. At the end of the trial, each participant was declared “guilty without remorse” and they were exported to the land of their ancestor’s origin. When they arrived at the birthsite of their earliest known ancestor, they found a message waiting for them. Following this, many of the participants declined to return to NNYC.

Artifacts
1 - A Maqudu from a Trans-Temporal Occurrence performed in the Hallucinatory Phase of HAJODA. Used in an “Unnumbered” work that served as a precursor to the famous “Liberty on Fire” performance, this object serves as the only object known to have survived this “Unnumbered” performance as all other objects were ceremonially burned upon conclusion of the piece. Carbon dating cannot confirm the origin of the drum as it consists of materials from the past as well as materials that seem to be from the future…

2 - A Visible documentation of an Invisible work.

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