Ample lamps / Exit To Earth

Ample Lamps was the first public display of olo J. Milkman's output, shared with a display of the photography of Paul Kamon, and also acted as opening ceremony for the Mojo Dojo.

Overview

Product Of Neglect Art Collective Ltd. would like to welcome you to this temporary space of remedial recombinant line drawing for rotting recombinant times. Pull up some distance, have an episode, and join the fight against ambient light. If watched hard enough, most images can be multiplied in their application, and in these sczitzophrantic times we find ourselves feeding back. In harmony with this tactic, we here at Product Of Neglect Art Collective Ltd. would like to offer an array of multiplacated imagery in a single permutation for your intended viewing pleasure/tolerance (offer not available in Quebec). Remember to wander long enough, as a disputably wise yogi is said to have commented; “wisdom does not grow on trees, it is a root vegetable, however if it did grow on trees it would be pretty high on the branch, unreachable to all but the giraffes, and you don’t see them with opposable thumbs and push button lifestyles...” and far be it from me to contest; I’m not a gambling man.

1.4 2.4 3.4 4.4
1.3 2.3 3.3 4.3
1.2 2.2 3.2 4.2
1.1 2.1 3.1 4.1

Inspired by the rise of the desktop, the repeating tile is all the rage, at least with those of us who claim our mental surroundings. Any of the 16 lamps can be placed at the lower left hand corner, and with the rest in sequence a larger pattern will emerge. As with the Ceiling Lamp / Light Column (It’s Two Mints In One), in a 3 dimensional space it would form an Awfully Large Transparent Doughnut wireframe. Alternately, one could split the sequence down the middle and with two columns of two, lines could still join to create separate smaller doughnuts. Placed end to end in single file, rotated through 180 degrees along the way back to the first panel, lines would link up into a mobius strip. There are a few more ways to arrange them, but we’ll leave that up to your imagination. Your mileage may vary.

Ceiling Lamp / Light Column (It’s Two Mints In One)

The Ashram had a nippular need, and what first began as an answer unfolded to something I could busy myself with for the foreseeable future. Loosely hanging off an I Ching hexagram, a round of 64 panels brought ambitious plans for an animated sequence, an interactive audio piece to visually navigate a nonlinear electronic music composition (that’s the Grant Application Sizzler!), a series of slide projections for performance spaces, and several other appliances we milked the muse for, before setting celery on the window sill in Thanks and nodding off to sleep of Kobblers.

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Look all you want, but lines which threaten to trespass borders do not link directly with lines on neighbouring panels, hopefully though they lean over to suggest connections. Aiming at a more meditativelocity, it‘s my hope that the subject™ will create different shapes and levels across (as well as within) panels, spinning their geometrical radio dial to tune in or out the lines and perspectives. With time and some practice, RevZen (Reverse Zen) will then take hold, setting your mind wandering like a poorly held note, and unraveling creativity will ensue. The Management will no longer be held responsible.

Value Added Art: If the lines were a wireframe mapped into a 3 dimensional space, their edges could be wrapped around on all four sides to create an image resembling a satellite map projected onto an Awfully Large Transparent Doughnut. Interested in helping us do this?

The Ceiling lamp / Light Column spread flat

Projections (still)

Second brood of the I Ching panels, the first being the Ceiling Lamp / Light Column (It’s Two Mints In One), 64 digital images were made from the individual panels. Through a stunning series of miracles masquerading as the 21st century, the images wound up as photographic slides. The slides are meant to be used in performance spaces, initially planned for application during the nightmare dream sequences in “Brown Cow!”; the world’s first Mime Musical. However, proper mounting of “Brown Cow!” will require Product Of Neglect Art Collective Ltd. to stumble across a philanthropic benevolence the likes of which hasn’t been seen in decades. So until someone can be convinced to pony up the tab on all that dry ice, the slides will be used wherever else we can apply them. They are available for both weddings and bar mitzvahs.

exit to earth
photos by Paul Kamon

projected words by Jelaluddin Rumi

synopsis
all roads have exits that lead us back to the earth, outside the virtual reality of the civilized human construct. the photographs on display were taken during a one month journey through the american southwest. stops were made along the way to interact with the historical and natural power centers of the land:

the enveloping womb of water in an oasis at Red Rock,
a penetrating rock tower of Sedona,
the granite kingdom of Yosemite,
the awesome Havusupi Falls of the Grand Canyon

the result of these interactions was an exhilarating and sometimes painful return to the natural language and impulses of the earth, a far cry from the manufactured desires and whims of today’s modern society.

“if you don’t believe it, then lose yourself and feel it…”
–Heather Nova

Premeditated Music mix by Xenakis J. Spuzum and dJ Bake-n-Phat

Fluxion: 0:00 – 11:59
Unknown artist: 10:00 – 21:55
Gus Gus: 20:54 – 25:26
Swayzak: 24:32 – 32:36
Monolake: 32:08 – 40:04
Porter Ricks: 39:03 – 55:31
Atlon Inc.: 55:02 – 59:30
Maurizio: 58:47 – 60:04
Auch: 59:47 - 65:20
Sutekh: 64:15 – 70:25
Burger / Ink: 68:24 – 75:43
KLF: 70:30 – 71:18
Hallucinator: 73:03 – 83:11
Plastikman: 81:12 – 92:35
Fluxion: 90:17 – 99:24
Plastikman 97:43 – 105:59
Fluxion: 103:49 – 113:00
Theorem: 111:19 – 122:07
Monolake: 117:15 – 127:13
Sound track: 124:53 – 132:17
Model 500: 128:28 – 132:00
Sutekh: 131:32 – 142:54
Plastikman: 140:32 – 145:39
Sound Track: 143:00 – 143:36
Fluxion: 143:32 – 144:29
Sound Track: 144:15 – 151:22
Modernist Explosion: 148:01 – 152:18
Sutekh: 151:48 – 157:12
Model 500: 152:08 – 159:30
Sound Track: 156:17 – 173:01
Luke Slater: 167:28 – 175:20
Auch: 172:15 – 178:35
Plastikman: 177:45 – 185:58
Monolake: 183:34 – 193:02
Fluxion: 190:22 – 200:45
Plastikman: 200:47 – 207:17
Sutekh: 205:36 – 213:51
Theorem: 213:13 – 222:27
Substance: 220:55 – 226:10
Pacou: 223:12 – 231:30
Swayzak: 225:28 – 234:41
Twerk: 232:11 – 235:12
Infinity: 233:06 – 242:37
Uusitalo: 236:49 – 242:38
Underworld: 238:10 – 257:57
Gez Varley: 243:12 – 250:18
Emmanuel Top: 249:59 – 263:43
Modernist Explosion: 258:10 – 264:05
Fluxion: 263:29 – 270:38
Plastikman: 264:27 – 272:43
Balil: 267:36 – 270:58
Various Artists: 270:20 – 270:39
Minimal Man: 272:09 – 278:46
Steve Stoll: 276:05 – 280:01
Swayzak: 278:12 – 284:09
Mike Ink: 281:51 – 286:47
Uusitalo: 284:34 – 292:23
Plastikman: 286:34 – 297:37
Sutekh: 292:45 – 299:12
Various Artists: 297:55 – 306:17
Auch: 299:42 – 308:56

Ethological reflection

‘Why, Mulla, don’t you spend some time practicing higher forms of thought, in order to improve yourself?’

‘For the same reason that lions don’t catch fish.’

‘Oh, you mean that you are not equipped for it?’

‘No, I only mean that I haven’t got around to it yet.

-translated by Idries Shah

The Invite

Ample Lamps was the first public display of olo J. Milkman's output, shared with a display of the photography of Paul Kamon, and also acted as opening ceremony for the Mojo Dojo.	Overview Product Of Neglect Art Collective Ltd. would like to welcome you to this temporary space of remedial recombinant line drawing for rotting recombinant times. Pull up some distance, have an episode, and join the fight against ambient light. If watched hard enough, most images can be multiplied in their application, and in these sczitzophrantic times we find ourselves feeding back. In harmony with this tactic, we here at Product Of Neglect Art Collective Ltd. would like to offer an array of multiplacated imagery in a single permutation for your intended viewing pleasure/tolerance (offer not available in Quebec). Remember to wander long enough, as a disputably wise yogi is said to have commented; “wisdom does not grow on trees, it is a root vegetable, however if it did grow on trees it would be pretty high on the branch, unreachable to all but the giraffes, and you don’t see them with opposable thumbs and push button lifestyles...” and far be it from me to contest; I’m not a gambling man.
1.4 2.4 3.4 4.4 1.3 2.3 3.3 4.3 1.2 2.2 3.2 4.2 1.1 2.1 3.1 4.1 Inspired by the rise of the desktop, the repeating tile is all the rage, at least with those of us who claim our mental surroundings. Any of the 16 lamps can be placed at the lower left hand corner, and with the rest in sequence a larger pattern will emerge. As with the Ceiling Lamp / Light Column (It’s Two Mints In One), in a 3 dimensional space it would form an Awfully Large Transparent Doughnut wireframe. Alternately, one could split the sequence down the middle and with two columns of two, lines could still join to create separate smaller doughnuts. Placed end to end in single file, rotated through 180 degrees along the way back to the first panel, lines would link up into a mobius strip. There are a few more ways to arrange them, but we’ll leave that up to your imagination. Your mileage may vary.

Ceiling Lamp / Light Column (It’s Two Mints In One) The Ashram had a nippular need, and what first began as an answer unfolded to something I could busy myself with for the foreseeable future. Loosely hanging off an I Ching hexagram, a round of 64 panels brought ambitious plans for an animated sequence, an interactive audio piece to visually navigate a nonlinear electronic music composition (that’s the Grant Application Sizzler!), a series of slide projections for performance spaces, and several other appliances we milked the muse for, before setting celery on the window sill in Thanks and nodding off to sleep of Kobblers.
. Look all you want, but lines which threaten to trespass borders do not link directly with lines on neighbouring panels, hopefully though they lean over to suggest connections. Aiming at a more meditativelocity, it‘s my hope that the subject™ will create different shapes and levels across (as well as within) panels, spinning their geometrical radio dial to tune in or out the lines and perspectives. With time and some practice, RevZen (Reverse Zen) will then take hold, setting your mind wandering like a poorly held note, and unraveling creativity will ensue. The Management will no longer be held responsible. Value Added Art: If the lines were a wireframe mapped into a 3 dimensional space, their edges could be wrapped around on all four sides to create an image resembling a satellite map projected onto an Awfully Large Transparent Doughnut. Interested in helping us do this?
The Ceiling lamp / Light Column spread flat
Projections (still) Second brood of the I Ching panels, the first being the Ceiling Lamp / Light Column (It’s Two Mints In One), 64 digital images were made from the individual panels. Through a stunning series of miracles masquerading as the 21st century, the images wound up as photographic slides. The slides are meant to be used in performance spaces, initially planned for application during the nightmare dream sequences in “Brown Cow!”; the world’s first Mime Musical. However, proper mounting of “Brown Cow!” will require Product Of Neglect Art Collective Ltd. to stumble across a philanthropic benevolence the likes of which hasn’t been seen in decades. So until someone can be convinced to pony up the tab on all that dry ice, the slides will be used wherever else we can apply them. They are available for both weddings and bar mitzvahs.

exit to earth photos by Paul Kamon projected words by Jelaluddin Rumi synopsis all roads have exits that lead us back to the earth, outside the virtual reality of the civilized human construct. the photographs on display were taken during a one month journey through the american southwest. stops were made along the way to interact with the historical and natural power centers of the land: the enveloping womb of water in an oasis at Red Rock, a penetrating rock tower of Sedona, the granite kingdom of Yosemite, the awesome Havusupi Falls of the Grand Canyon the result of these interactions was an exhilarating and sometimes painful return to the natural language and impulses of the earth, a far cry from the manufactured desires and whims of today’s modern society. “if you don’t believe it, then lose yourself and feel it…” –Heather Nova


	Premeditated Music mix by Xenakis J. Spuzum and dJ Bake-n-Phat Fluxion: 0:00 – 11:59 Unknown artist: 10:00 – 21:55 Gus Gus: 20:54 – 25:26 Swayzak: 24:32 – 32:36 Monolake: 32:08 – 40:04 Porter Ricks: 39:03 – 55:31 Atlon Inc.: 55:02 – 59:30 Maurizio: 58:47 – 60:04 Auch: 59:47 - 65:20 Sutekh: 64:15 – 70:25 Burger / Ink: 68:24 – 75:43 KLF: 70:30 – 71:18 Hallucinator: 73:03 – 83:11 Plastikman: 81:12 – 92:35 Fluxion: 90:17 – 99:24 Plastikman 97:43 – 105:59 Fluxion: 103:49 – 113:00 Theorem: 111:19 – 122:07 Monolake: 117:15 – 127:13 Sound track: 124:53 – 132:17 Model 500: 128:28 – 132:00 Sutekh: 131:32 – 142:54 Plastikman: 140:32 – 145:39 Sound Track: 143:00 – 143:36 Fluxion: 143:32 – 144:29 Sound Track: 144:15 – 151:22 Modernist Explosion: 148:01 – 152:18 Sutekh: 151:48 – 157:12 Model 500: 152:08 – 159:30 Sound Track: 156:17 – 173:01 Luke Slater: 167:28 – 175:20 Auch: 172:15 – 178:35 Plastikman: 177:45 – 185:58 Monolake: 183:34 – 193:02 Fluxion: 190:22 – 200:45 Plastikman: 200:47 – 207:17 Sutekh: 205:36 – 213:51 Theorem: 213:13 – 222:27 Substance: 220:55 – 226:10 Pacou: 223:12 – 231:30 Swayzak: 225:28 – 234:41 Twerk: 232:11 – 235:12 Infinity: 233:06 – 242:37 Uusitalo: 236:49 – 242:38 Underworld: 238:10 – 257:57 Gez Varley: 243:12 – 250:18 Emmanuel Top: 249:59 – 263:43 Modernist Explosion: 258:10 – 264:05 Fluxion: 263:29 – 270:38 Plastikman: 264:27 – 272:43 Balil: 267:36 – 270:58 Various Artists: 270:20 – 270:39 Minimal Man: 272:09 – 278:46 Steve Stoll: 276:05 – 280:01 Swayzak: 278:12 – 284:09 Mike Ink: 281:51 – 286:47 Uusitalo: 284:34 – 292:23 Plastikman: 286:34 – 297:37 Sutekh: 292:45 – 299:12 Various Artists: 297:55 – 306:17 Auch: 299:42 – 308:56
	Ethological reflection ‘Why, Mulla, don’t you spend some time practicing higher forms of thought, in order to improve yourself?’ ‘For the same reason that lions don’t catch fish.’ ‘Oh, you mean that you are not equipped for it?’ ‘No, I only mean that I haven’t got around to it yet. -translated by Idries Shah
The Invite