Week 17: Homeworks Forum

Hi Everyone,

This Tuesday is the next event in a year-long series of weekly conversations and exhibits in 2010 shedding light on examples of Plausible Artworlds.

This week we’ll be talking with some of the participants in the Home Works Forum, a multidisciplinary platform held in Beirut, Lebanon about every other year. Since its inception in 2002 at the initiative of the Ashkal Alwan Association, Home Works has evolved into a vibrant platform for spirited exchange on art and art-related practices in the region and beyond. Artists, writers, and thinkers gather for ten days in order to share their works, which take the form of exhibitions, performances, lectures, videos, artists’ talks, workshops and publications. What links the forum’s usership is a desire to engage a common set of urgent questions, to produce and consider aesthetic forms capable of embodying those questions meaningfully — and above all to work toward the emergence of a public with the agency to carry the project forward through action and not just in contemplation. Now midway through its 5th edition, the Home Works Forum is a space in which political, social and economic realities can be explored, reflected, and made manifest as visual and verbal articulations.

“Home Works” suggests an intertwining of public and private spheres, the outside world of work and the inside space of home. More broadly, “Home Works,” itself an impossible plural, implies a process of internal excavation, of digging and burrowing deeper while simultaneously constructing and accumulating new practices.

This year, the Forum’s focus is on “In and Out of Education … What Can We Teach Nowadays”, looking at the crisis in arts education, the so-called “pedagogical turn” in artistic discourse and practice — all in the context of the plan to set up a new educational program, The Home Works Academy, which will use the city of Beirut itself as its campus, its research topic and its platform. Beirut as a plausible artworld…

http://www.ashkalalwan.org/

 

Transcription

Week 17: Homeworks Forum

[Scott]: Hey there!  I only wish I was recording the opening track.  Yeah, thank you very much.  I'm here with Barbara, Kate, Chris and Michael so far.

(Music playing in background)

Whoa. Thanks Steph. Steph, that was really fantastic

(Inaudible background chatter)

[Scott]:  We were hoping that you guys would get a little pissed ahead of time, so I am really glad.  Grease the wheels.

(Inaudible background chatter)

[Steven]: So we were actually going to start with (inaudible 0:01:28.3) who is a Lebanese Beirut based, I don't know what she does, activist and agitator.  She's fallen asleep so I guess (inaudible0:01:44.8) is going to have to start and I am looking (inaudible0:01:46.8).  I'm looking for Greg Shallotte actually because Greg, let me give a quick (inaudible0:01:54.6) and then I will handle the mic over to Greg.  Can you guys hear okay?

[Scott]: Yeah, we can definitely hear really well.  Hey guys!  Come on in.  Hey Nato!

(Inaudible background chatter)

[Steven]: Nato Thompson is here to my right, (inaudible 0:02:15.5) is to my left and a little further to the extreme left is Greg Shallotte and I have kind of put myself in the middle here because these guys have a panel this evening at the Home Works Forum.  The third and a series of panels on the question of setting up an art academy in Beirut and using Beirut campus as the site as the subject of the artistic enquiry.  And so it was kind of a panel about bringing in some ideas and counter ideas.   Judy talked about (inaudible 0:02:55.9) which could be the object of the future of Plausible Artworlds potluck project.  She is the co-initiator of the Buenos Aires in Argentina old project called CIA...

[Scott]: Oh Yeah.

[Steven]: It is the Center for Intelligence in the Arts.

[Judy]: (inaudible 0:03:22.8)

[Steven]: Let's try and get our facts right.  So she talked about that.   And to give a kind of a different example and to throw some concrete examples out there…  Greg, has been actively involved in all of discussions over the last couple of days and the Home Works Forum particularly around these educational panels  Greg kind of set up the discussion.  Asking the question of how is it possible to produce, with any knowledge economy, to produce critical forms of knowledge.  Nato also raised concrete examples would sort of his own take on it.  What's it called? The Bruce?

[Nato]: The Bruce High Quality Foundation University, which is a product that big time supported to start and I'm sure many of you are familiar with.

[Steven]: And then go into a bunch of other examples and basically questions the use of, well, the problem of lapsing into this sort of high and semiotic...  What you call it Nato?  The purgatory of postgraduate programs.  (inaudible 0:04:53.5) but let me say a few things before we talk about the panel and that just about what Home Works actually is.  Home Works was actually started in the years after the Civil War that went from 1975 to 1990.  In the mid nineties someone called Christine Tohme started an association called Ashkal Alwan, an association for plastic arts in Lebanon, and an attempt to kind of create something which really didn't exist.  Are you guys still there?

[Scott]: Hey, yeah.  Can you hear is okay?

[Steven]: yeah (inaudible 0:05:30.1).

[Scott]: Just talking into the ether? Um, yeah, I know we can totally here you.  Before you talk about that real quick media would just be good to let everybody know that our setup is a little artificial here.  We've got like it mic and liked a Skype setup and were all sitting around the table.  But I just wanted to let everyone know, at least on our side and plus whoever is out there from different Skype locations, that it is totally cool to chime in.  Even if you just wanted to say hello or have any kinds of questions or wanted to say anything.  Don't be put off by the format.  There's just no other way to communicate with people that are not sitting right in front of you decides to have some kind of technology.  So please flag us down, oh cool Steph, or if you want to sort of say something.  Just interrupt us or chime right in or type something out.  It's totally fine.

[Steven]: (inaudible 0:06:29.5).

[Scott]: Okay great.Yeah, please tell us.

[Steven]: Christine decided in a city where there was no public space and public time we're basically what wasn't in the hands of private ownership was in the hands of the different confessions, the different religious groups that have been party to that war, to try and claimed some kind of   space within the urban landscape.  And using art and (inaudible 0:07:00.6) to do that and in any attempt to bring some new ideas and to create this about 10 years ago it is now called Home Works (inaudible 0:07:16.0) for the little layout that I did the other day.  It's a kind of a platform which takes the form of exhibitions and performs lectures, videos, talks, workshops, publications and exchange in general than initially at around questions that were particularly linked to this region, which is loosely known as the Middle East but one is never quite sure of the middle of what east exactly.  This now, we are right here in the middle of the fifth edition of the forum and it is kind of evolved over the years.  What it has become it's sort of a meeting place basically to exchange of verbally but also artistic forms.  Any kind of conversation in a larger sense around how to go beyond just wanting are to be have political agency but to actually create something like a public position to carry the (inaudible 0:08:34.4) energies of art.  And the particular emphasis this year has been on the idea to turn Beirut an academy.  In other words, to make Home Works not just a biannual event where people show up and talk and then go back to where they're from, but to actually use this platform as a permit kind of affair.

So there are many things to be said about Home Works and about his upcoming or potential academy in general.  Maybe I should like Greg Shallotte, who was our moderator earlier today, tell us what he (inaudible0:09:20.9).  I should say that this is Greg's second time year, right?

[Greg]: Yes.

[Steven]: But not your third time, not yet.  Take the helm, I'll take the beer.

[Greg]: Hi Scott.

[Scott]: Hey Greg!  We are all here and totally excited about what you guys have to say and what you were doing over there.  It would be great to be there but…  

[Greg]: Yep, it is beautiful here.  It's always really lovely here in spring especially.  One of the things that is always amazing about being here is not only the sort of the impressions in mass media of what the Middle East is are just completely destroyed immediately and you fall in love with the place.  But, you know it's a complex situation as we found out tonight because we provoked a discussion and at which people were actually starting to talk about the actual conditions here in Beirut and some of this sort of difficulties in trying to start in art school here.  You know, which has some similarities to (inaudible 0:10:23.6) Argentina.  And maybe even a little bit New York's, except that in New York I remember in the 1970s it was really kind of a demolished structure physically and socially.  But it is its own place of course.  There's a lot of complexity, either a still a lot of wealth here and it mixes is into the situation in particular ways.

So one of the issues that came up was how do students enter into the system of art education when they don't come from a financially comfortable background.  Now, in the United States we are familiar with that problem but it's not such the case in Europe.  Here in Beirut is really not so much of an issue.  So that was one aspect of it.  Maybe another aspect that we didn't really address as much as we should have is what we do with the students that this art school might turn out.  How do they fit into the world?  What world do they fit into?  We actually had one of the students ask that question of us.  The way art school is taught now there's no sense of connection to what they might do when they get out.  There's no sense of how to finesse the politics of having a degree in art and preparation of what might take place after graduation.  So, you know, those are really complicated questions here but the most complicated questions seem to be in the United States.  So those are some of (inaudible 0:12:04.7) thoughts.

(inaudible background chatter)

[Judy]:   Okay.  Kind of keeping it along the lines with what Greg was saying, something that also was addressed (inaudible 0:12:29.5) was this kind of like this huge conversation of the arts implication.  And it's interesting how it operates in different contexts.  For example, in the north American (inaudible 0:12:40.4) north American context than the south American contexts because (inaudible0:12:45.8).  And there is (inaudible 0:12:52.9) context from Europe, from Europe to North America from any other context (inaudible 0:12:58.7).  Because, first of all, there are institutions that are really crystallized (inaudible 0:13:06.3).  So that gives already the background in which you can like base your discourse of education to the theory of one of these conferences.  But then when you talk about it with a different context, like could be Lebanon with the program now or in Argentina (inaudible 0:13:26.18 - 0:13:36.3).   But also because the student is not seen as a product in which in north America, a student is a product.  The student is a consumer, is somebody that is paying (inaudible 0:13:50.4) which is very different in other parts of the world.  In my (inaudible 0:13:58.5) which I've been working with two other artists on this project which is called CIA, Center for (inaudible 0:14:07.8) or Center for Individuals in the Arts or there is many names that everybody kind of (inaudible 0:14:14.7) in their own personal preference (inaudible 0:14:18.7).  We operate in a very different context which education in Argentina has always been (inaudible 0:14:30.3).  That means that you never pay to get educated.  I went to (inaudible 0:14:34.9) University and the private universities did not exist in South America, they are pretty new.  They started in the last 10 or 20 years.  So it is a new industry that has been (inaudible 0:14:49.9) and that is something that is part of the (inaudible 0:14:53.8).

And now going back to the projects (inaudible 0:14:55.8 - 0:15:05.3).  It is a different project because now in (inaudible 0:15:08.5) education has been privatized in Argentina and in other countries around.  We propose in the model that (inaudible 0:15:20.9) and also propose by the artist (inaudible 0:15:27.9 - 0:15:31.8).  And we are working on a model in which we don't have to (inaudible 0:15:38.1 - 0:16:00.4) a universal transformation of creating the institution.  And what it is a central location because we (inaudible 0:16:09.9) and to differentiate this new trend that exists in every university across America.  Like this thing with the (inaudible 0:16:23.6) because what happens there is everybody that is part of that visualizes.  It is about incorporating the notion of (inaudible 0:16:44.1) and for this I mean the (inaudible 0:16:47.4) comparable to things like literature, music, architecture from the (laughing).

(Laughter)

[Scott]: What are you guys doing over there?

[Judy]: Proposals (laughing).  So this is (inaudible 0:17:22.1) and the participants...

(background commotion)

[Steven]: (inaudible 0:17:26.0)

(audio feed he lost 0:17:34.4 - 0:17:49.1)

[Judy]: The laundry next door and they just sit there and they talk and they participate as any other student.  And then we have this conflict with the students in which they complain because (inaudible 0:18:01.4) broke down.  But, I mean, this is very important because as (inaudible 0:18:08.6) brings this element of reality to the program.  And the other component that is important is that center or Cento, as I want to say it in Spanish, it's about forces that converge with the center (inaudible 0:18:26.2) and then from there they expand (inaudible 0:18:30.3).  So we operate outside of this whatever center is.  That means we operate in slums to create a high school that is approved by university of education and it's an official high school for art in which the students from the center go and teach there and they still follow the program of (inaudible 0:18:55.0).  So it's this thing of like inside and outside and we operate in the real world.  

The other component that is important is like a (inaudible 0:19:08.6) of art in a specific scenario, particularly there are things and human issues that (inaudible 0:19:15.5).  My experience in North American universities is that it's always this kind of (inaudible 0:19:24.7).  Very different from the way we operate.  The way we operate is directly within the city (inaudible 0:19:33.7).  In the case of (inaudible 0:19:41.4) which is a project we started (inaudible 0:19:42.0) in which there were participants all over the center who go there start working in a (inaudible 0:19:47.8) of the slum in order to make it legal.  Legal for the city.  Meaning this project of (inaudible 0:19:57.7) and got approved.  So we have to go through the buearocracy.  And on that level

When you have to go through the buearocracy of politics it is very different than when you dream with your school and you're beautiful tests.  You know like "Oh, what city do I want to live in?" or " what should be (inaudible0:20:19.0) mean?" Because (inaudible0:20:21.0) you have to start dealing with the law, dealing with politicians and dealing with real forces.  That is the part that we are…  

[Steven]: So, you can here to talk about this law.  To (inaudible0:20:39.5) and it wants to create something which is not similar but would actually (inaudible and0:20:45.3).  What were the terms of engagement between you and Christine Tohme? What did she ask you?  And why do you think she is interested and what you were doing did?

[Judy]: Well Christine Tohme found out about this center I think through other people that she was doing some research with.  At some point she looked up me and then we met (inaudible 0:21:03.9) I was there and she was there and we met.  And she was like very interested in the project (inaudible 0:21:12.4) and she might come here and talk.  And we briefly talked about the model and we briefly talked about the different (inaudible 0:21:19.7) that she has here and (inaudible 0:21:23.5).  One of those from the center of (inaudible 0:21:26.9) this is a program that lasts for one year.  And we (inaudible 0:21:35.9) every year and we have around 400 applicants for 25 grants, for 25 spots.  And the problem that Christine was having in (inaudible 0:21:49.5) is that they don't have students, they have professors or people who care to teach but they don't know who they're going to teach.  They cannot (inaudible 0:22:03.4) for example, (inaudible 0:22:06.2)

(Inaudible comment or question from the background)

[Scott]: Can you just repeat that one more time?  Did you guys catch that?

(Massive inaudible conversation in background 0:22:54.9 - 0:23:18.7)

[Judy]: this is the website (inaudible 0:23:16.4) translated into English (inaudible 0:23:22.0)

(Inaudible comment or question from the background)

[Steven]: Everything at Centro takes place in Spanish.  That's the question to get actually (inaudible 0:23:39.3) here because all of our debates took place in English and English is not an official language in Lebanon.  The official language, which is Arabic of course, and the national language is French and English just happens to be default (inaudible 0:23:54.3)

(Inaudible comment or question from the background)

[Judy]: Also we had a similar problem in Argentina.  The present governor to Argentina is the (inaudible 0:24:06.2) of the Centro and doesn't speak English.  And they have a strong resistance of learning English because for them to learn English (inaudable0:24:17.1).  So it's kind of (inaudible 0:24:21.0).  A system of colonizing or whatever.  it's just a way that the world chose to (inaudible 0:24:42.5).

[Steven]: Greg are you posting pictures?

[Greg]: I'm simply getting (inaudible 0:24:49.0).  If you know how to post them and you know what the password is, and they could see kind of the context.

[Steven]: Absolutely.

(inaudible background chatter)

[Scott]: Yeah totally.

(inaudible background chatter)

[Scott]: Yeah totally.  She gave you a shout out man.  You didn't see that?  Do you want to say hello?

[Theresa]: hi baby!  I miss you.

(laughter)

[Theresa]: you guys, just one thing.  If you slowed down a little bit, it's really hard to hear speaking so fast.  So just kind of keep that in mind.  Okay bye!  Continue on.

(inaudible background chatter)

[Male Group Member]: So listen, one thing I would like to say to you just kind of backing up from our specific (inaudible 0:25:59.5) just kind of first impressions about Home Works in general.  When I was looking at this event, to be frank, I got asked to come from three different angles.  I was having beers would Anton (inaudible 0:26:13.7) and he said there is this great event and maybe you should go and Shallotte was like you have to go and then (inaudible 0:26:23.3) and then one of our board members who is also (audio feed lost 0:26:27.9).

[Scott]: Yeah, that was our fault guys.  The sound, I put the mic right in front of our speaker so you guys were getting crazy feedback probably.  All just turn it off until we have something to say.  Yeah, don't let us stop you.

(Audio feed lost/Silence 0:26:57.5 - 0:32:15.0)

[Scott]: Nato?  Who is organizing the art school in Beirut?

[Nato]: What's that?

[Scott]: who is organizing the school in Beirut?  Or the academy, I mean.  The Beirut academy.

[Nato]: (inaudible 0:32:30.2)

[Scott]: Okay.

(Audio feed lost/Silence 0:32:34.2 - 0:34:20.7)

[Scott]: Hello.  Yeah, we're still here.  It just dropped for a second.  We got basically everything right up to, well...

[Steven]: Okay so, I'm just going to (Audio feed lost 0:34:33.3).

(Audio feed lost/Silence 0:34:33.3 - 0:44:10.2)

[Scott]: Yeah, that was like a censored audio blast (laughing).  But please, go on. (audio feed lost 0:44:18.7)

(Audio feed lost/Silence 0:44:18.7 - 0:44:39.7)

[Steven]: We actually managed to (audio feed lost 0:44:42.6).

(Audio feed lost/Silence 0:44:42.6 - 0:57:33.4)

[Male Group Member]: There is a question about how much this event costs to the group.

(Inaudible background conversation 0:57:55.9)

(Audio feed lost/Silence 0:58:25.9 - 1:03:28.4)

[Scott]: Hey, what are you guys drinking there by the way?  Can you hear me?  Were you guys drinking there, by the way?  Out of curiosity.

[Male group member]: Beer.

[Scott]: Oh, okay.  Same here. Okay (laughing).  We're all looking at your photographs.  Yet, by the way, we're all looking at your photographs.  They are great.  We should send some photos your way too.  But yeah, I was just curious if what you're just describing were considerations that went into forming the art academy there?  You know, because I was wondering you know sometimes it's easier to have political discussions that run parallel with artists practice and often when artists are involved they can kind of claim that as a practice because they are in discussion about it or maybe there were references it.  But when people like all of you are involved on some level in forming something like this, a citywide art academy in a place like Beirut, I'm just curious if through this conference some of those considerations came up during the planning process.

[Male group member]: Just so you know Scott, the art academy has not started.  It's just in the forming stage...

[Scott]: Right.

[Male group member]: Part of what this was about was to float various ideas, some that are successful in some that are failures around (inaudible 1:05:12.6) learn from, right?  So I think that the first thing, most of the discussion has been (audio feed lost 1:05:24.8).

(Audio feed lost/Silence 1:05:24.8 - 1:06:37.5)

[Scott]: Do you think there's a lot of competition there?  I mean, since a lot of the people involved there are involved in various pedagogical practices or creative pedagogical practices as part of what they do.  You know.  Do you think that?  I don't know.  Do you think that anyone is kind of stepping up to the plate or there is a demand for that?  Do you know what I mean?

(inaudible background answer - audio feed lost 1:07:18.8)

(Audio feed lost/Silence 1:07:18.8 - 1:10:04.8)

[Female group member]: Scott went to the bathroom.  We are here.  So, I think maybe.  I was wondering…  Being from where you are at a conference in Beirut in a very specific place and a very specific group of people, I'm sort of wondering if there's any possibility of figuring out a sort of broader sense of what is going on.  I mean, what other sort of other than the people you have experienced through the conference is there any way to experience Beirut in a broader way?  I don't know if you can say anything about that.

[Judy]: In my personal experience (inaudible 1:10:46.7 - 1:11:13.0)

[Male group member]: I just want to say that, you know, one thing that in a broader sense is really important, that does sound so dorky.  So maybe that is worth saying because dorky things are always works saying.

(Laughter)

You know, one thing that we can always know as the community is that there are people in this region that can be allies and can be our friends. (Inaudible 1:11:38.0) ability of presenting geography as a way of producing community seems all the more urgent in regions like this where we can learn a lot from the conditions here.  I have learned so much about this kind of weird idea of what the (inaudible 1:11:56.3) is and really realizing that this isn't some complicated way of reaching people in real terms, human terms.  And this art practice really makes more sense for me go into these regions.  That sense of urgency translates to kind of a way of radicalizing me.  And then a can remind us of this project that we are invested in what America can try to feel dead and stuck in our little alcove of art and whatever when in fact, this project that we're on has relevance.  I think that is the big lesson.

(inaudible background chatter)

[Female group member]:I think what I meant by my question was more so like…  Can they hear me?

[Scott]: I don't know.

[Female group member]: Can you hear me?   

[Male group member]: Yeah.

[Female group member]: I think what I meant for my question though was almost more like an outsider perspective.  Is there sort of any possibility of gaining an outsider perspective when you are sort of in the place that you are in?  It sounded like, Steven, you went on a tour or something?  Possibly you have some kind of a neighborhood where you saying?  So maybe you have more perspective about that.

[Steven]: The practice is walking.  He's sort of did a curated walk, if you want to call it that, through two different neighborhoods.  Two very, very different neighborhoods.  But not to produce an art object but to produce perception.  He is an architect (inaudible 1:13:43.5) so it was a pretty cool interpretation of an urban landscape.  But I want to add about the inside/outside dynamic.  What is really interesting about Home Works is how it is kind of a magic combination of inside and outside perspectives which allows everyone to speak very freely and very frantically and often (inaudible 1:14:15.2) and speaking absolutely directly and not having to say " I don't really know what I am talking about but if you don't mind all just add my 2¢ worth."  Maybe you could actually say "I don't agree with that" and the other person says (inaudible 1:14:33.1).  I don't think otherwise I would come.  What is really great for me is that we find common ground and this Artworld (inaudible 1:14:48.5) and that is super interesting.

(Inaudible background conversation Judy/Nato/Steven 1:14:56.3 - 1:19:01.0)

[Steven]: With interesting for me over the years to come into this thing is to see (inaudible 1:19:06.0) also in discourse.  In certain conceptual (inaudible 1:19:10.2) has gained certain currency in the discussion today.  But I think that what is really important for all of us is how all this (inaudible 1:19.22.8).  We're obviously not, us and this room here, the ones were gonna be decided that.  I love the passion in which Nato raised questions systematically.  Greg, Judy and myself obviously we are not passive bystanders we also feel like we should take over somehow in a city where we don't live and probably never will.  And I think that is an interesting thing.  The series in which art is normally practiced (inaudible 1:20:00.3) is really infectious.  Somehow we all want that to be the case.  You know, I don't want to ask questions.  I want to pour my heart into it.

[Nato]: Yeah! Yeah!

(Laughter)

[Steven]: Do you guys want to ask some questions because we are…

[Scott]: What?  Are you guys tired? Oh, okay.  I was going to say.  I thought maybe you guys were getting tired but then I realize you just ran out of alcohol.  It makes sense.

[Greg]: That is a much more serious problem.

[Scott]: Definitely.  Wow, yeah.  There's some interesting background noise here.  I will be really interested in to see how the involvement of some of you guys and a few others that we know that are there can help shape this event.  It sounds to me like, I don't know, I could be wrong.  Sounds to me like this is a very participatory, but there is some input desired by the contributors, the people who were invited to come there (lost audio feed 1:21:36.1).

(Audio feed lost/Silence 1:21:36.1 - 1:23:09.5)

[Steven]: Well user ship at this conference is a term that has come up.

(Laughter)

(Inaudible background chatter 1:23:37.7)

(Audio feed lost 1:24:17.5 - 1:26:56.4)

[Theresa]: Babe. You look really drunk in the pictures that are coming over.  

(Laughter)

(Inaudible background)

[Theresa]: Yeah, but Greg's sending video and it really doesn't do you well.  Anyway, so let's continue.  I was wondering something else (laughing).  They are showing the video right now, is a little scary.  I had a question about where this takes your personal practice like after Beirut.

[Nato]: Well the one thing that I have been considering is, well...  I don't know, to be honest.  But the natural urge is to just start doing something in Beirut or partner with an organization (inaudible 1:28:03.1).  But then it's so funny (inaudible 1:28:06.9) and then another curator said that they were looking for partnerships and then I started seeing the logic of this thing and how they were creating an interest in the region and how that will show up.  Because I'm convinced that within a year and a half we're going to see a million different pedagogical experiments in the art world.  I think the real question is to really think politically what would be affected, how we actually produce something that affected. (inaudible 1:28:52.4) and think about ways that we can support people with things that they want.  To start conversation about what they need from people in the west and what we could use and learn from them.  The dialog around kind of a humble assistance to each other and then maybe think about building ties as opposed to this kind of knee jerk let's just do a project together.  Does that make sense?

[Theresa]: That makes a lot of sense Babe.  Anybody else?

[Scott]: OMG Greg.

[Theresa]: I mean to that question.  Anybody else to that question.

[Nato]: What are you going to take back with you from this?  How are you going to apply this to your practice?

[Judy]: To my practice in particular? I don't know. I did make an observation which is like, I think that there is dynamic that is established (inaudible 1:29:50.6 -1:30:07.2).  And the sense of like the west kind of needs to feed on a sense of newness. (Inaudible 1:30:23.6) happens here, it does have a sense of newness and (inaudible 1:30:31.1).  The western culture has a sense of oppression, you could say, and I do receive a certain sense of its limitations.  I mean, it's not gonna go farther than that because there's so much that can be done (inaudible 1:30:59.1 - 1:31:13.8) and then bye bye.

(Laughter)

(Inaudible background conversation Steven/Nato/Judy 1:31:20.6 - 1:34:00.9)

[Steven]: I just want another beer.

(Laughter)

[Scott]: Steven wait, you're taking the last beer? You're not splitting it with your comrades?

(inaudible background comment)

(Laughter)

[Scott]: Hilarious.

(inaudible background chatter)   

[Scott]: Judy, Nato, Salem, Greg it was awesome to chat with you guys.  All of you guys too elsewhere.

[Theresa]: Bye Nato, love you.  It

(inaudible background chatter)

(Singing theme from Bonanza)

END OF TRANSCRIPTION
1:37:14.1
Page |

Backchannel


Chat History with basekamp/$f150c0fed29a73c1" title="#basekamp/$f150c0fed29a73c1">Homeworks Forum http://www.basekamp.com/about/events/homeworks-forum (#basekamp/$f150c0fed29a73c1)

Created on 2010-04-27 21:45:05.

2010-04-27

BASEKAMP team: 18:06:40
hey everyone... we're running a few mins behind
BASEKAMP team: 18:06:42
LOLs
BASEKAMP team: 18:07:16
Stephen just texted, says they're on their way & we shoud give em 10 mins (or so)
Maria Kelley: 18:07:32
hello
BASEKAMP team: 18:07:37
smiley smiley smiley  smiley smiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smiley smiley  smiley smiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smiley smiley  smiley smiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smiley smiley  smiley smiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smiley smiley  smiley smiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smiley smiley  smiley smiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smiley smiley  smiley smiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smileysmiley smiley
Maria Kelley: 18:07:54
alright alright..  lol
BASEKAMP team: 18:08:09
woot
BASEKAMP team: 18:08:11
hi mom
Maria Kelley: 18:09:17
hi Scott!  smiley
Maria Kelley: 18:12:08
my mic isn't working.  smiley
BASEKAMP team: 18:12:13
'sok
BASEKAMP team: 18:12:24
you can just liten if you want... and type in here
Maria Kelley: 18:12:58
okay, sounds good.  hope I can hear something.  nothing yet.
BASEKAMP team: 18:13:12
haven;t started yet
Maria Kelley: 18:13:17
oh, hehe
Maria Kelley: 18:13:39
well, that would make all the difference!  smiley
BASEKAMP team: 18:16:00
so we're looking @ the Ashkal Alwan site now, while we wait for the Beiruit-ers to join
BASEKAMP team: 18:16:05
how's everyone doing?
BASEKAMP team: 18:16:17
not *everyone*... ;0 how are you all doing?
alemcj" title="salemcj">salem collo-julin: 18:16:51
hi all - can you post the url? thanks!
BASEKAMP team: 18:17:13
oh snap http://www.ashkalalwan.org/
BASEKAMP team: 18:17:34
specific infos about tonight http://basekamp.com/about/events/homeworks-forum
Maria Kelley: 18:17:46
I'm doing well.  no sound on my end yet.
BASEKAMP team: 18:18:29
hi Stephen, Nato & Greg!
BASEKAMP team: 18:19:00
it's a beautiful breezy day in Phildelphia... a few people here right now, more walking in
BASEKAMP team: 18:19:16
but maybe we shuld get this party started since you guys are calling from 1am >smiley
gregory sholette: 18:19:16
And Judi Werthein
gregory sholette: 18:19:23
yes yes yes
gregory sholette: 18:19:43
can you add rashasalti
BASEKAMP team: 18:19:56
yes, but... i don't have the contact here
eandockray" title="seandockray">Sean Dockray: 18:20:53
bummer stf cant catch a break
BASEKAMP team: 18:21:06
can you pass the skypename our way?
BASEKAMP team: 18:21:14
Sean ?
BASEKAMP team: 18:21:24
break?  smiley
eandockray" title="seandockray">Sean Dockray: 18:21:33
Stefpasquini.com is using an older version of Skype that does not support multi-person chats and therefore can't join
BASEKAMP team: 18:21:48
ohhhh.. but looks like she's in now, no?
tefpasquini" title="stefpasquini">Stefpasquini.com: 18:21:57
really? I thought I was up to date
BASEKAMP team: 18:22:00
well.. let's try
BASEKAMP team: 18:22:12
sometimes skype gives us random errors that don't not suck
tefpasquini" title="stefpasquini">Stefpasquini.com: 18:22:23
I'm in the chat, I'm not in the call though
gregory sholette: 18:22:30
ok lets go
BASEKAMP team: 18:22:48
right, we haven't started yet. do we need 1 more person on your end?
gregory sholette: 18:23:00
look likes shes asleep!!
gregory sholette: 18:23:14
It's late here
BASEKAMP team: 18:23:17
yeah, we can get started & add her later ---- ah, that'd xplain it!
gregory sholette: 18:23:22
call us
BASEKAMP team: 18:23:23
ok, calling now
BASEKAMP team: 18:23:39
welcome so welcome Stephen Wright, Greg Scholette, Nato Thompson, Judi Werthein in Beirut
alemcj" title="salemcj">salem collo-julin: 18:24:08
wow, that was amazing
Maria Kelley: 18:24:16
Maria here
Maria Kelley: 18:24:21
just listening
eandockray" title="seandockray">Sean Dockray: 18:29:30
i'm listening and its clear
tefpasquini" title="stefpasquini">Stefpasquini.com: 18:29:50
sound's good here in italy
Maria Kelley: 18:30:10
I'm listening and the sound is very clear
Maria Kelley: 18:30:31
how's the weather in Italy?
tefpasquini" title="stefpasquini">Stefpasquini.com: 18:30:44
getting warmer!
Maria Kelley: 18:31:15
cool!  lol
tefpasquini" title="stefpasquini">Stefpasquini.com: 18:32:04
although i am about to fall asleep (nothing to do with you guys - i'm overworked lately!)
tefpasquini" title="stefpasquini">Stefpasquini.com: 18:32:29
it's 12,30 am here
Maria Kelley: 18:32:31
I can relate.  smiley
Maria Kelley: 18:32:33
wow!
BASEKAMP team: 18:32:44
Nato, Theresa says "yo whatsup!"
tefpasquini" title="stefpasquini">Stefpasquini.com: 18:32:51
much later in beirut!
Maria Kelley: 18:33:11
I'm in Georgia, USA   It's 6:30 PM here
BASEKAMP team: 18:33:19
smiley  smiley  smiley  smiley  smiley  smiley smiley  smiley  smiley  smiley  smiley  smiley smiley  smiley  smiley  smiley  smiley  smiley smiley  smiley  smiley  smiley  smiley  smiley smiley  smiley  smiley  smiley  smiley  smiley smiley  smiley  smiley  smiley  smiley  smiley smiley  smiley  smiley  smiley  smiley  smiley smiley  smiley  smiley  smiley  smiley  smiley smiley  smiley  smiley  smiley  smiley  smiley
Maria Kelley: 18:33:31
Beirut!  wow!!!
tefpasquini" title="stefpasquini">Stefpasquini.com: 18:33:32
smiley
BASEKAMP team: 18:33:58
smiley
BASEKAMP team: 18:36:35
aharon add you to the call now
BASEKAMP team: 18:39:03
aharon smiley
BASEKAMP team: 18:39:42
can you type the names of the artists in?
Aharon: 18:39:59
hiyas! smiley
BASEKAMP team: 18:46:11
we're looking @ http://balkansproject.ips-dc.org/?page_id=145 Judi... do you think this is a good place to get a sense of some of what you're talking about?
alemcj" title="salemcj">salem collo-julin: 18:47:03
basekamp can you call me in again? I had to cut out for a bit, thanks
BASEKAMP team: 18:47:13
salem yea --- calling u again
gregory sholette: 18:47:13
www.ciacentro.org
alemcj" title="salemcj">salem collo-julin: 18:47:43
ty
BASEKAMP team: 18:47:53
np >smiley
alemcj" title="salemcj">salem collo-julin: 18:49:21
aaawwww
Maria Kelley: 18:49:27
awww..  that's so sweet!
BASEKAMP team: 18:49:35
you guys are gonna love that we're looking at the site through GOOGLE TRANSLATE!
BASEKAMP team: 18:50:07
smiley  smiley  smiley smiley  smiley  smiley ( smiley smiley  smiley  smiley smiley  smiley  smiley ( smiley smiley  smiley  smiley smiley  smiley  smiley ( smiley smiley  smiley  smiley smiley  smiley  smiley ( smiley smiley  smiley  smiley smiley  smiley  smiley ( smiley smiley  smiley  smiley smiley  smiley  smiley ( smiley smiley  smiley  smiley smiley  smiley  smiley ( smiley smiley  smiley  smiley smiley  smiley  smiley ( smiley smiley  smiley  smiley smiley  smiley  smiley ( smiley smiley  smiley  smiley smiley  smiley  smiley ( smiley
alemcj" title="salemcj">salem collo-julin: 18:50:13
oh no remix sound happening
alemcj" title="salemcj">salem collo-julin: 18:50:28
better
BASEKAMP team: 18:50:30
oops.. better
Maria Kelley: 18:50:31
sound is mixed, can't understand
BASEKAMP team: 18:50:32
k
Maria Kelley: 18:50:40
better
gregory sholette: 18:51:24
posted file IMG_3678.JPG to members of this chat<files alt=""><file size="659675" index="0">IMG_3678.JPG</file></files>
Aharon: 18:52:03
sounds like us army lingo of good/bad guys..? m looking for the uglies.. (where's the mirrir? smiley)
alemcj" title="salemcj">salem collo-julin: 18:52:15
Nato - is that because it's in Beirut?
BASEKAMP team: 18:52:25
like the dark side & the jedi
Aharon: 18:52:36
who paid their flights?
BASEKAMP team: 18:53:21
we got you photo
BASEKAMP team: 18:53:43
smiley  smiley  smiley  smiley smiley  smiley  smiley  smiley
BASEKAMP team: 18:53:51
we need greg in the photo
BASEKAMP team: 18:54:04
behind the pic
BASEKAMP team: 18:54:26
ok, we see you in the reflection in the beer bottle Greg
Aharon: 18:56:55
so.. what kind of !="academy" is it?
Maria Kelley: 18:56:57
sound is bad again  : -(
BASEKAMP team: 18:57:18
oops!
BASEKAMP team: 18:57:36
the sound is much better!
BASEKAMP team: 18:57:42
smiley
tefpasquini" title="stefpasquini">Stefpasquini.com: 18:57:44
yep
gregory sholette: 18:57:44
call us back
alemcj" title="salemcj">salem collo-julin: 18:57:45
Perhaps a later ? -- is the work that people brought there reflecting that same kind of "warring/disaster area tourism" that is bringing lots of interest to the "novelty" of art in beirut? & can those who have been in this situation as observers/participants reflect upon this?
alemcj" title="salemcj">salem collo-julin: 18:57:51
later after the call comes back and all that was just said is repeated of course
Aharon: 18:57:53
plus why is it that the speaker sounds so sourprised about capital checking hip "new" locals?
BASEKAMP team: 18:57:58
hey guys, looks like wireless dropped here for a secccccc
BASEKAMP team: 18:58:05
calling bak]
Maria Kelley: 18:58:20
i can hear
eanstoops" title="seanstoops">Sean Stoops: 18:58:42
OK I hear loud and clear!
tefpasquini" title="stefpasquini">Stefpasquini.com: 18:58:48
me 2
Maria Kelley: 18:59:02
m3
alemcj" title="salemcj">salem collo-julin: 18:59:10
interesting point, stephen!
BASEKAMP team: 18:59:17
"it's like it really mattered... it's as if art actually had a role in the production of the public sphere.."
Aharon: 18:59:19
what kind of "art" is "art" practice in beirut?
Aharon: 19:01:03
examples of discussion topics..?
Maria Kelley: 19:02:38
oh, let's hope not
BASEKAMP team: 19:02:39
LOLLOLOLOLOsssss
Aharon: 19:02:58
any concrete examples of what he said? (the allah guy..)
Aharon: 19:03:37
what is "art power"??
alemcj" title="salemcj">salem collo-julin: 19:05:03
so the students that we're talking about are teenagers? did I get that right? that's really interesting
gregory sholette: 19:05:13
http://www.ashkalalwan.org/ the homeworkw forum program is on the site
BASEKAMP team: 19:05:19
haha greg!
BASEKAMP team: 19:05:24
(photo)
BASEKAMP team: 19:06:13
hi megfrisch!
Meg Frisch: 19:06:20
Waves!
BASEKAMP team: 19:06:31
you have headphones at the UX conference? or text-only?
Meg Frisch: 19:06:41
UX show & tell smiley I have headphones
BASEKAMP team: 19:06:45
smiley  smiley  smiley smiley  smiley  smiley smiley  smiley  smiley smiley  smiley  smiley smiley  smiley  smiley smiley  smiley  smiley smiley  smiley  smiley smiley  smiley  smiley smiley  smiley  smiley smiley  smiley  smiley smiley  smiley  smiley smiley  smiley  smiley smiley  smiley  smiley smiley  smiley  smiley smiley  smiley  smiley
Meg Frisch: 19:06:46
I can keep one ear in & one ear out.
BASEKAMP team: 19:07:06
so add you to the audio right (megrfrisch)?
BASEKAMP team: 19:07:37
assuming yes
alemcj" title="salemcj">salem collo-julin: 19:08:59
that's interesting - the idea that a leader would be talking about a difference between "popular" & "elite" culture, not at all an American idea
BASEKAMP team: 19:09:04
stephen  smiley
Aharon: 19:10:31
hills.. and sea..
Aharon: 19:11:13
good point - salem! smiley
alemcj" title="salemcj">salem collo-julin: 19:12:47
that's a really good point - & think of that in terms of the difference between elite culture and other cultures
Aharon: 19:12:53
r u saying they were all educated by ralph nader..? smiley
alemcj" title="salemcj">salem collo-julin: 19:13:10
(point that Judi made about artists being educated outside of region)
Aharon: 19:13:30
yup.. a bad smile re that..
Aharon: 19:14:31
the binary though, of elite vs popular is also interesting because it it a western construct - by enlarge - however it is bloody usefyl for control..
Aharon: 19:15:41
does not feel set???!!! maybe it is set - but not feeling like..?
alemcj" title="salemcj">salem collo-julin: 19:16:26
that's amazing, so then almost all decisions are in flux - talk about powerful lobbyists!
Aharon: 19:16:31
are these religious - or tribal groups..?
BASEKAMP team: 19:17:21
how much money does Homeworks cost do you think?
BASEKAMP team: 19:17:35
sounded like a prety large event
Meg Frisch: 19:18:09
mm lost connection...
Aharon: 19:18:25
in what way, stephen, are these art works, like in home-works - are not symbolic..?
BASEKAMP team: 19:19:45
hilarious!
BASEKAMP team: 19:19:51
it's like las vegas
alemcj" title="salemcj">salem collo-julin: 19:19:59
but could you have gay sex with a bear and some beers on the sides of tanks?
BASEKAMP team: 19:20:23
salem you can totally do that in philadelphia
alemcj" title="salemcj">salem collo-julin: 19:20:25
thanks for answering my very important questions
BASEKAMP team: 19:20:27
minus the tanks
alemcj" title="salemcj">salem collo-julin: 19:20:28
haha
alemcj" title="salemcj">salem collo-julin: 19:20:44
no
alemcj" title="salemcj">salem collo-julin: 19:20:51
we hope you're all wearing pants
alemcj" title="salemcj">salem collo-julin: 19:20:54
hi good!
BASEKAMP team: 19:20:56
what are ou guys doing over there
alemcj" title="salemcj">salem collo-julin: 19:20:57
hi all
alemcj" title="salemcj">salem collo-julin: 19:21:13
berets!
eandockray" title="seandockray">Sean Dockray: 19:21:36
so are political decisions effective ones? i mean you were talking before about how there were so many competing groups in political process and yet theres the sense that you can do anything, so are politics considered ineffective? irrelevant? affecting another sphere or life?
BASEKAMP team: 19:23:55
nice pic nato
Aharon: 19:26:01
is it not capitalism - exactly what u describe?
Aharon: 19:27:48
capitalism is not something organised.. the lack of state power just enables it to get more extreme.. like more extreme difference between rich and poor, etc..
BASEKAMP team: 19:28:04
are these considerations in forming the art academy there
eandockray" title="seandockray">Sean Dockray: 19:29:37
isnt it not the lack of state power, but the lack of a real political sphere (i honestly have no clue what politics actually looks like in beirut)-- if minimal state for neoliberalism is where the main role of government is just military defense/ prisons (and not necessarily the preservation or cultivation of public space)
eandockray" title="seandockray">Sean Dockray: 19:29:45
thats to aharon
alemcj" title="salemcj">salem collo-julin: 19:33:56
yeah, same thing happens on the south side of chicago too! seriously. culture history needs to come from the hands of the makers -- can't agree more
gregory sholette: 19:35:13
posted file MVI_3694.AVI to members of this chat<files alt=""><file size="2982620" index="0">MVI_3694.AVI</file></files>
Aharon: 19:37:08
it is a good question, that of the political sphere and power/state-power.. but the point i was trying to make is that via stephen's descriptions it did sound like a very capitalistic place.. (maybe my critique of state-power was too flat and off-the-hip-ish)
Aharon: 19:37:31
(who is speaking now at basekamp??)
BASEKAMP team: 19:38:19
that was Theresa Rose
Aharon: 19:38:59
theresa, you have a new voice fan! smiley
BASEKAMP team: 19:39:13
smiley  smiley  smiley
eandockray" title="seandockray">Sean Dockray: 19:39:47
what will be coming out of homeworks? do funders require some kind of publication? is there talk about what that will look like? obviously people are returning to their respective homes like nato said and brinigng somehting with them... but some of that energy goes into the new academy, what do you think is going to come out and are there better or worse things that can be done?
alemcj" title="salemcj">salem collo-julin: 19:39:59
cool to hear about texts & maybe even misunderstanding being a place for common ground
gregory sholette: 19:41:01
this is a very capitalist place - the middle east is a very capitalist place, but maybe not the kind of global captialism - or financialized capital - that we are so used to - its a city filled with many small enterprises - but hoping to reach, I suspect, into the global sphere, perhaps in competition with Dubai - which now is positioning itself as the new center of culture in the middle east "post" beirut and cairo - greg
eandockray" title="seandockray">Sean Dockray: 19:42:09
(bracketing my question: we are debating whether and how to do a publication for our recent drift with brian and im honestly curious about the question with respect to circulating concepts and discussions , like right now)
eandockray" title="seandockray">Sean Dockray: 19:42:24
its not a question!
eandockray" title="seandockray">Sean Dockray: 19:42:26
haha
BASEKAMP team: 19:42:49
Lollllllllll
gregory sholette: 19:44:09
there are also many monied classes here - who have always had access to the west in a privileged way - so the question of starting up an art school is always already marked by that class problem - which here in Beirut is also complicated by religion and politics - this small country and city is like a pressure cooker of difference - g.
Aharon: 19:44:36
ok.. that is interesting "global" (dare i say "international") capitalism and it difference with outsider capitalism.. this is kind of having an interesting point re middle east politics/activities and its anachronistic nature visavi european/us perception.. indeed is it not that some of the fascination with mideast in eu/us is that its like a contemporary window into the past..
Aharon: 19:45:10
still fighting in phily.. smiley
gregory sholette: 19:45:30
I was born in philly - g
eandockray" title="seandockray">Sean Dockray: 19:45:51
great project
Aharon: 19:45:56
are they contributors, scott? not users..? smiley
BASEKAMP team: 19:46:09
re Sean -- yes
BASEKAMP team: 19:46:31
@ Aharon -- kind of both aren't they? what do you guys think?
eandockray" title="seandockray">Sean Dockray: 19:46:36
yeah i organize d ashow of pad.ma videos here and been in touch with ashok about it..
gregory sholette: 19:46:50
http://pad.ma
eandockray" title="seandockray">Sean Dockray: 19:46:50
sebastian also did textz.com
BASEKAMP team: 19:47:08
apart from the question of whether or not usership is a form of production -- sounds as if there's a more active role
BASEKAMP team: 19:47:22
Sean ++
Aharon: 19:47:32
lol
BASEKAMP team: 19:47:48
we Bet Stephen!
Aharon: 19:48:39
difference..?? pls define..?
gregory sholette: 19:49:16
posted file IMG_3667.JPG to members of this chat<files alt=""><file size="1028064" index="0">IMG_3667.JPG</file></files>
Aharon: 19:49:25
u said makes a diff
Aharon: 19:49:35
asked about define
eandockray" title="seandockray">Sean Dockray: 19:50:03
haha
alemcj" title="salemcj">salem collo-julin: 19:50:50
basekamp = you'll have to post all these pix somewhere, I think they're only going to y'all. smiley beirut visitors -- can you quickly talk about the importance or unimportance of collectivism in beirut? I know that's a really large question and maybe not something you can deal with in 10 minutes
BASEKAMP team: 19:50:57
except FBI
Aharon: 19:51:01
lol
Aharon: 19:52:12
immigrate..? smiley
gregory sholette: 19:52:20
difference in a very simple and direct sense: christian right, christian liberals, christian leftists (usually marxists but not stalinist), muslim islamic and more secular fundamental types, and just plain secular types - g
gregory sholette: 19:53:14
posted file IMG_3677.JPG to members of this chat<files alt=""><file size="591336" index="0">IMG_3677.JPG</file></files>
eandockray" title="seandockray">Sean Dockray: 19:53:29
salem's question?
Aharon: 19:54:13
to greg - these are just groupings that live in there.. not what art(???) does to make a different "difference" in the lebanon..
gregory sholette: 19:54:15
sorry Salem - your question again ( we have only about 5 minutes left on this internet account)
BASEKAMP team: 19:54:39
good timing.. since it's 7:55 smiley
gregory sholette: 19:54:59
Not sure what you mean Aharon by your question - can you quickly expand?
gregory sholette: 19:55:37
" these are just groupings that live in there" but this totaly defines the city and the place Aharon
Aharon: 19:55:38
the question is re stephs assertion that "art" makes a "difference" in beirut
gregory sholette: 19:55:54
can't speak for Stephen
alemcj" title="salemcj">salem collo-julin: 19:56:21
I said basically -  quickly talk about the importance or unimportance of collectivism in beirut? I know that's a really large question and maybe not something you can deal with in 10 minutes. So maybe this answers Theresa's ?, it's something to write about
Aharon: 19:56:32
sure they do.  r u saying they grouped via some art project?
BASEKAMP team: 19:56:48
we just emailed you 2 pics Greg
BASEKAMP team: 19:56:54
to you r gmail acct
gregory sholette: 19:56:56
hey Salem - collectivism is here and alive - but not as fluid or informal as in Chicago - g
BASEKAMP team: 19:57:13
well.. there's not an academy there like SAIC yet right??
BASEKAMP team: 19:57:18
smiley
Aharon: 19:57:39
what kind of a difference..?
alemcj" title="salemcj">salem collo-julin: 19:57:39
oh lord
gregory sholette: 19:57:44
saic? hardly. its still very formal and rigid according to our local friends - g
BASEKAMP team: 19:57:45
haha
alemcj" title="salemcj">salem collo-julin: 19:58:05
lol
gregory sholette: 19:58:08
so we must say good night - stephen has his last beer
gregory sholette: 19:58:24
so much for collectivism !
alemcj" title="salemcj">salem collo-julin: 19:58:27
hahahaa
eandockray" title="seandockray">Sean Dockray: 19:58:33
thanks all -- was great to hear about this
alemcj" title="salemcj">salem collo-julin: 19:58:52
omg
Aharon: 19:58:57
lol
alemcj" title="salemcj">salem collo-julin: 19:59:02
thanks all
Aharon: 19:59:02
great!
alemcj" title="salemcj">salem collo-julin: 19:59:09
good luck!
Aharon: 19:59:09
thanks!
Meg Frisch: 19:59:13
thank you!
BASEKAMP team: 19:59:16
till next time!
BASEKAMP team: 19:59:41
someone want to play some closing music?
Meg Frisch: 19:59:56
doo doo dooo didlly doo
BASEKAMP team: 20:00:13
da da da
eanstoops" title="seanstoops">Sean Stoops: 20:00:32
oh- good night!
BASEKAMP team: 20:00:57
los
BASEKAMP team: 20:01:00
lol even