people-from-miami

"Ezra Pound said poetry is “news that stays news,” which I’ve always liked."

"Adrian Piper is incredible. I also love the work of Ana Mendieta, Chris Burden, Vito Acconci, Nam June Paik, Pipilotti Rist, Patty Chang, Diane Arbus, Nikki S. Lee, Hito Steyerl, Tino Seghal, T.S. Elliot, Wallace Stevens, Sylvia Plath, Emily Dickinson, Frank O’Hara. The list is endless and always changing."

"When I was 15, I fell in a frozen lake. I was walking on a lake outside of Boston and the ice started cracking. The next thing you know, I was fighting to get out. The lake was a water reservoir so it was illegal to walk on it. Afterward, I was scared to tell anyone about what happened for fear of getting into trouble. Even though I was freezing for days after, it was also kind of exciting."

"The day I decided to commit to being an artist was one of the best days of my life. I knew what I loved to do and what I now had to do. Although it was a totally frightening career choice, it was also one of the most liberating."

"For this project, I am wearing a suit made of raw silk inspired by William Turner’s color palette in "The Burning of the Houses of Lords and Commons." I wanted the fabric to reflect the light like the golden flames in the painting."

"There are two phases of the exhibition—day and night. When you walk into the gallery during the day, in this reality, it is actually night. There are 75 night-blooming jasmine plants in boxes with shop lights above them suspended from the ceiling. Because the lights are off, the plants are tricked into thinking it is night and release their rich smell. The viewer walks through a maze of flowers and arrives at the video projected on a screen of myself walking and falling through a frozen lake in the center of the gallery. There is an audio score accompanying the video by experimental jazz composer Jason Ajemian. Every day at 5:30pm, the video turns off and the lights start to turn on in a synchronized choreography to a piece of music. The "day" then begins and the lights turn off again at 5:30am. It is a very sensorial experience with smell, video, light, color, and sound."

"On the day of, usually, I am just focused on all that needs to get done to get the shot right. When I am performing, I switch into my body and try to be as in the moment as possible. When I fell through the lake, I opened my eyes and it was so incredibly peaceful. Frozen lake water is this deep emerald green, and all I saw was this thick liquid that was so quiet. I held myself under the ice for as long as I could to experience it."

"When I do these performances now, the feeling in my body seems to mirror that lake experience. I did a performance a few years ago where I threw myself through sheets of glass and after that I found the vocabulary to describe how I felt physically eluded me. It was like a secret in my body. When thinking about how to approach the reenactment, I started reading about how William Turner worked. He would take real-life events and turn them into the most beautiful images using color and light. He was also very interested in the sublime—man’s powerlessness in the face of nature. I channeled him as an inspiration when making the video."

"Falling in the lake the first time wasn’t what I would call traumatic. It was while it was happening —don’t get me wrong, but after, it was more of an exciting mystery. It was kind of like recovering from an intense illness. Or losing your virginity and wondering what the hell happened? I did feel an immense sense of power after I shot it last winter. I was in total control of the situation this time, which was more fun."

"Moving to New York to get an MFA in poetry was a pretty affirming moment. I started to research poets who were performance artists and discovered people like Vito Acconci. From there, my poems walked off the page and into the streets in an action poem style. Photography has always been a big part of my life and when I started researching early performance work, I never understood why the “documentation” of the work was of such bad quality. I went back to school, to the International Center for Photography, to learn the skills necessary to capture aesthetically compelling work, to eliminate the hierarchy between the performance and video and photos. At that point, I hit my stride."

"It’s sort of like building a puzzle. I get an idea and then see how it best fits. If it is an idea for a performance, I start to think, Should it be live? Is it best for video? What time of day? What kind of camera? Where should it be shot? Then I think, How should it be installed? Single-channel or installation? If it is for a live audience, then everything changes; now you are thinking outside the frame and with a 360-degree view. Then the questions start again. All the projects start with an image. If the work is physically challenging, then I work backward to figure out how I can make it. How can I cover myself with bees while doing tai chi? How can I throw myself through sheets of glass? How can I fall through the middle of a frozen lake?"

"I feel like Miami is growing so fast it is hard to pinpoint what it is anymore because everything is constantly changing here, but at the same time, it’s Miami—this surreal, gritty, gorgeous city that attracts a unique type of person. The art community here reflects that. It is unconventional in its core; it is hardworking, dedicated, supportive, and fun."

"I start researching and make calls to people whom I think can help me. The first 10 calls are all usually the same: “You can’t do that, it's impossible.” But then I find someone who is one the same page as me and the fun starts. When we finally have a date, then I prepare physically and mentally. Trampoline training, tai chi practice, ice baths, ashram stays, etc. A lot of research goes into the projects—the goal is to make the final image."

"… For more than a thousand years it was thought that the heavens obeyed a different physics than pertains here on Earth. With the scientific renaissance that culminated in Isaac Newton’s work it became clear that, on the contrary, the same natural laws rule the earth and the sky. The cosmos came to be viewed as a marvel, events following from causes like the tickings of brass cogs. The realm of the inexplicable—where dwell the gods of those dazzled by the unexplained—was thereafter relegated to the first moment of time, when the universe somehow blossomed into being. Then quantum chance reared its indeterminate face, as a creative agency that authored the first phenomena of cosmic time. So we are obliged to consider that even the largest systems are ruled by quantum precepts that govern nature on the smallest scales, and that the origin of the universe may itself have been a cosmic flux."

"The most dramatic burst of biological inventiveness came here, just over half a billion years ago, when a whole array of creatures equipped with claws and teeth and tentacles appeared, in what is aptly called the . Its cause is something of a mystery, but the forms taken on by nearly of the organisms on Earth today represent variations of the plans invented during the Cambrian. It makes you wonder just how exotic might be."

"In all, Kepler tested seventy circular orbits against 's Mars data, all to no avail. At one point, performing a leap of the imagination like Leonardo's to the moon, he imagined himself on Mars, and sought to reconstruct the path the earths motion would trace out across the skies of a Martian observatory; this effort consumed nine hundred pages of calculations, but still failed to solve the major problem."

"This book argues that ... the was sparked—caused is perhaps not too strong a word—by the scientific revolution, and that science continues to foster today. It's not just that scientific creativity has produced technological improvements, which in turn have enhanced the prosperity and security of the scientific nations, although that is part of the story, but that the freedoms protected by liberal democracies are essential to facilitating scientific inquiry, and that democracy itself is an experimental system without which neither science nor liberty can flourish."

"Neuroscience has begun to reveal some fascinating things about how the brain works, shedding light on the concept of personal identity, the data-handling limitations of the central nervous system, and the way that the brain smooths over its liabilities and discontinuities to sustain a sense of unified consciousness. We are beginning to realize that each of us really does contain multitudes, as Walt Whitman put it, and that the chorus of voices within was built up over eons of evolution, like geological strata in the or the ."

"We are here to tell the story of our city. Through the women who built it. The women who shape it. The women who lead it. The women who identify issues that matter and challenge the status quo. We are intergenerational. We are every race. And religion. And neighborhood. And income level. And sector. Our Miami is strong. It is beautiful. It is diverse. And it is female." The motto Fishman-Lipsey wrote for Miami Girls Foundation in 2017."

"Geno Smith: incredibly underrated quarterback. Part of the reason he struggled at times in Seattle, huge part of the reason, biggest reason was their offensive line was so bad, he faced one of the highest quick-pressure rates in football. When he was kept clean, his numbers were up there with anyone. Accurate, experienced veteran quarterback. Absolutely love this for the Raiders, absolutely hate it for the Seattle Seahawks."

"I can't say it was tough because I have been so blessed. Honestly, my tough times would be a dream to someone else. I never will look at it as something that was too hard for me or really tough because throughout that time, I was still enjoying my life and still in the NFL."

"I'm always the guy that I believe the game gets settled between the white lines on game day. But from my vantage point, we've got a really, really good team. I don't know if we'll shock anyone inside of this building, but maybe shock some outsiders. But it's good, like let them sleep. I don't want them to see us coming. We're just working in the shadows right now, getting our game right, and when it's time to go in those bright lights, I think we'll be ready."

"They wrote me off, I ain't write back though."

"It's odd about war crimes. We seem to have tried people only if they've lost the war."

"I'm going to go over and get them out of the bunker myself. If the squad opens up on them, shoot 'em."

"With our sweat we took the bunkers, with our tears we took the plain With our blood we took the mountains and they gave it back again Still all of us are soldiers, we`re too busy to complain As we go marching on"

"When I reach my final campground in that land beyond the sun And the great commander asks me, 'Did you fight or did you run?' I'll stand both straight and tall stripped of medals, rank and gun And this is what I`ll say: Sir, I followed all my orders and I did the best I could It`s hard to judge the enemy and hard to tell the good Yet there`s not a man among us would not have understood"

"As it happened, the fifth anniversary of the My Lai massacre in Vietnam occurred at the time of the 1973 siege of Wounded Knee. It was difficult to miss the analogy between the 1890 Wounded Knee massacre and My Lai, 1968. Alongside the front-page news and photographs of the Wounded Knee siege that was taking place in real time were features with photos of the scene of mutilation and death at My Lai. Lieutenant William "Rusty" Calley was then serving his twenty-year sentence under house arrest in luxurious officers' quarters at Fort Benning, Georgia, near his hometown. Yet he remained a national hero who received hundreds of support letters weekly, who was lauded by some as a POW being held by the US military. One of Calley's most ardent defenders was Jimmy Carter, then governor of Georgia. In 1974, President Richard Nixon would pardon Calley."

"He just didn't understand it, the captain. Killing people in war's something new? Now what in the hell else is war than killing people? And destroying their homes and their farms and their way of life: that's war! And who in the hell is hurt besides civilians? I sat and I heard the captain talk and I could almost cry: I thought of the thousands of men, thousands of women, thousands of children, thousands of babies slaughtered in Vietnam, the bodies rotting away. The captain didn't seem to know about them. I did: I had been to Vietnam."

"The time has come to reconsider Lt. William Calley. He may not have been a saint, but he was following orders and certainly was not the only man who killed civilians. While he does not deserve a monument, his actions are important because they raise questions about our military and government. Does the United States only involve itself in just wars? What are the real, long term consequences of Sherman’s march and the total war tactics of The “Civil” War? Will the United States ever stop fighting wars and rebuilding foreign countries? These are just a few major points that make Calley’s story important from a historic perspective."

"It's hard to apologize for murdering so many people. But at least there's an acknowledgment of responsibility."

"My name is William Calley, I'm a soldier of this land I've tried to do my duty and to gain the upper hand But they`ve made me out a villain they have stamped me with a brand As we go marching on"

"UK-based researcher Justin Brummer started studying songs of the Vietnam War while preparing his PhD. It soon became his main focus of interest, and today he has catalogued some 5,000 songs, including 91 that specifically reference the massacre. The vast majority of them deal with Lieutenant William Calley, the man who commanded the troops at My Lai and gave the order to kill civilians."

"Recalled to the United States over a year after the events took place, Calley was court-martialed beginning on November 10, 1970. Whatever horror the American public may have felt in learning about the killings, it didn’t initially extend to the man who ordered them. Calley’s conviction — the only one in connection with My Lai — caused a national uproar. President Richard Nixon received 5,000 telegrams on the subject, nearly all them in support of Calley. Meanwhile, a poll conducted by Louis Harris and Associates in April 1971 found that 77 percent of those surveyed thought Calley had been singled out as a scapegoat, and 65 percent disagreed with the conviction. That sentiment was clearly reflected in the music of the day. Brummer reports that from 1969 to 1973, pro-Calley songs outnumber anti-Calley songs 2-1. They justify his actions in a variety of ways: Calley was under attack, Calley was confused, and, perhaps most significantly, Calley was just following orders."

"We're a sick, sick, sick society If we don't set Lieutenant Calley free."

"C Company featuring Terry Nelson, "The Battle Hymn of Lt. Calley" (1971), Plantation Records, written by Julian Wilson & James M. Smith"

"I don't wish to see anyone hurt: or anyone die for anyone else's sins. Not President Johnson or General Westmoreland or Captain Medina: I don't want to defame anyone to defend myself. I'm sorry about it: sometimes, my attorneys did to Medina what the prosecutor would do to me. "Now, wasn't the real villain in Mylai Captain Medina? And not that poor sweet lieutenant?" But the lieutenant wasn't all so sweet, and the captain was no more villain than any American from the President down. The guilt: as Medina said, we all as American citizens share it. I agree. I don't believe in goats, or pigeons, or patsies. I just don't believe they're in America's interest. For years, we Americans all have taken the easy way out. And been hypocritical fools. And gone around saying, "I'm nice. I'm sweet. I'm innocent." "You starved a thousand people today." "Who me?" "You threw away the scraps from the dinner table." "Aw-" "You killed a thousand people today." "Who me?" "You sent the Army to Mylai and-" "That wasn't me! That was Lieutenant Calley!" No, that isn't right for America. I say if there's guilt, we must suffer it. And learn. And change. And go on. For that is what guilt must be really for."

"We had a Plan, Medina was telling everyone now. And went to a Jeep: and taking a shovel out, he drew in the sand beneath him a map of our operation area. From left to right, this was Mylai Four, Mylai Five, Mylai ix, and Mylai One: or Pinkville, on the China sea. Pinkville now was the VC basecamp, Medina said, but we didn't want to get fired on from behind and we would start at Mylai Four. And continue on to Mylai Five, Mylai Six, and Mylai One. "We mustn't let anyone get behind us," Medina said, as I remember it. "Alpha and Bravo got messed up because they let the VC get behind them. And took heavy casualties and lost their momentum, and it was their downfall. Our job," Medina said, "is to go in rapidly and to neutralize everything. Kill everything." "Captain Medina? Do you mean women and children, too?" "I mean everything.""

"The widespread and highly emotional campaign to free Calley brought him a substantial degree of comfort, so much so that he was starting to think he had been acquitted. But a jury of his peers thought otherwise, and, in March of 1971, declared him guilty of murdering twenty-two "Oriental human beings" and sentenced him to life in prison at hard labor. The jury, by and large, regretted having to do it, but the evidence was overwhelming, the crime heinous. Calley seemed stunned. A large percentage of the American public was outraged, angry and loud in expressing disapproval of the verdict. Thompson felt that at least in thise one case justice was finally done, or so it seemed, for now. But President Richard Nixon- who had literally cringed over the idea that U.S. soldiers would be court-martialed in connection with war crimes in Vietnam- stepped in immediately as Commander-in-Chief of the Armed Forces to release Calley from the stockade, pending the approval of his conviction. Calley was placed under house arrest and allowed to live in his bachelor quarters at Ft. Benning. The announcement of the guilty verdict brouht on a convulsion of anger and protest among many U.S. citizens and a flood of emotionally charged letters and telegrams to President Nixon, Secretary of Defense Melvin Laird and other top-ranking government officials."

"The gap between those in the U.S. who were for the war and those against it widened as the Calley trial got underway in November of 1970. A hue and cry to "Free Calley" was heard from throngs of people from one side of the nation to the other, with the loudest voices coming from the Southern and Midwestern states. There were bumper stickers on countless cars and trucks, resolutions of support for the accused from half a dozen legislators, letters and telegrams by the boxful being received at the White House and at Calley's quarters at Ft. Benning, where he was under house arrest. A "Rally for Calley" was put on by the American Legion of Columbus, Georgia. A theme song that portrayed him as a martyr and scapegoat, titled "The Battle Hymn of Lt. Calley," could be heard on radio stations throughout the land."

"After all was said and done, in the effort to court-martial those who were responsible for the murder of five hundred and four Vietnamese civilians, and the coverup which followed, only one man was found guilty of anything whatsoever in a court of law."

"Calley was convicted, Nixon had made it easy on him, five hundred and four people were dead in Vietnam, it was a war crime, no one paid for it."

"Fifty years after the My Lai Massacre, Americans are still talking — and singing — about it. Back then, people praised the soldier who “followed orders” and condemned the soldier who listened to his own conscience. Today, they do the opposite. New songs shape old memories of an event that seems impossible to come to terms with. “People look back on it from a contemporary perspective and you get songs about a Hugh Thompson,” says Brummer. “They’re trying to correct it.”"

"Convicted for the premeditated murder of 22 civilians, Calley was initially sentenced to life imprisonment. In the end, he was saved from that fate by popular sentiment. Overwhelmed by the public’s demand to “free Calley,” President Nixon had him removed from the army stockade and placed under house arrest. His sentence was reduced twice; on November 9, 1974, less than three years after his conviction, Calley was released on parole. But the Lieutenant’s acclaim seemed to die as quickly as it came. Brummer hasn’t found a single pro-Calley song recorded after 1973; the post-war songs appear to be unanimous in their condemnation. In time, history found new heroes to tell stories about. And so you end up with songs about Hugh Thompson."

"Musicians around the country also came to Calley’s aid and wrote songs in his defense. “Big Bill” Johnson wrote a song called Set Lt. Calley Free, which stated “We’re a sick, sick society, we’ve nailed Lt. Calley to a tree…We Americans are tired of a war that can’t be won, where a soldier is charged with murder if he uses his gun.” Another song by C Company, featuring Terry Nelson, titled The Battle Hymn of Lt. Calley features lyrics like “I’ve seen my buddies ambushed…all the rules are broken…it’s hard to judge the enemy”. The artist also criticised the anti-war movement, claiming that those “marching in the street…were helping our defeat”. Nelson Truehart wrote a song called Morning in My Lai, which asked Americans not to judge Calley because “after all, he’s just fighting for you and me.” While most of the songs were country and performed by southerners, many songs of multiple genres went beyond defending Calley and portrayed him as a scapegoat. Even anti-war songs like Hang Lt. Calley and The Cry of My Lai were more critical of the government than they were Calley."

"The fact is that Calley had just been following orders. There had been increasing pressure from commanders for higher kill counts, and his exact orders when entering My Lai were to search and destroy. No American volunteered or was drafted for the purpose of killing civilians. In fact, when Calley and his men first arrived, they tried very hard to win over the South Vietnamese. As time went on, they noticed the locals were purposefully not helping them fight the Vietcong. Soldiers faced violence from men, women, and children of all ages during combat. The Vietcong were also heinously murdering captured soldiers. On one occasion, Calley recalled a soldier who had been captured, skinned alive, and bathed in a salt solution. The next day, they found the man’s skin ripped from his body and strung on a pole, with his penis having also been cut off."

"In war, the dead people don't cry. The ones who are still alive do."

"A village is the last damned place to RON: to remain overnight in. There would be Vietnamese all around us. Old mamasan might come with an AK-47 to show us whose hooch we were really in, with a VC battalion behind her."

"Everyone said eliminate them. I never met someone who didn't say it. A captain told me, "Goddamn it. I sit with my starlight scope, and I see VC at this village every night. I could go home if I could eliminate it." A colonel: he told me about a general's briefing where the general said, "By god, if you're chasing dead VC and you're chasing them to that village, do it! I'll answer for it! I'll answer for it!" The general was in a rage, saying, "Damn, and I'll lose my stars tomorrow if I tell those politicians who haven't been out of their bathtubs that." Americans would say, It's wrong, if American women fought in Vietnam, but the VC women will do it. And the VC kids: and everyone in our task force knew, We have to drop the bomb sometime. And still people ask me, "What do you have against women?" Damn, I have nothing. I think they're the greatest things since camels. And children: I've nothing against them. "Why did you kill them?" Well damn it! Why did I go to Vietnam? I didn't buy a plane ticket for it. A man in Hawaii gave it to me. "Why did you go? Why didn't you go to jail instead?" Oh, you dumb ass: if I knew it would turn out this way, I would have."

"I know you'll say, "All right: if Medina said to kill everyone in Atlanta, would you?" And someday an Army officer may, the way this country is going now. I say this: if this were a hundred years ago, if I were a Union lieutenant and if Sherman told me, "Kill everyone in Atlanta," I guarantee I would have to. I once got a letter on Mylai saying, "My god! Why are the Yankees upset?" It said in the CIvil War, the Yankees were up against guerrillas, too. All the South's men, women, and children were out to defeat them. A very smart man in Missouri said, "If the Yankees come through here, do whatever you can. And poison the horses, and poison everyone's food. And invite the GIs-" I mean, "And invite the Yankees in, let them sleep with all your daughters, and if they're in the latrine for a pee: then shoot them. Let them believe you and kill them." The same as Vietnam: the people became guerrillas then. And used unconventional warfare: but the North wasn't about to sit in its trenches worrying, Gee, can I feed my horses here? It wasn't about to live afraid, and Sherman said if they wouldn't let the Army be, then there wouldn't be a Southerner left. He ordered his men to burn, to kill, and as soldiers say: to rape, pillage, and plunder the South. And there was no stopping him. The tactic worked. If you're a Yankee, you'll tell me, "Sherman's great," and you'll put a statue of Sherman in Central Park. As for me, I'd hate to see a monument to Calley's March to the Sea. But damn it! Sherman knew the solution to unconventional warfare."