aCCeSsions

Translation

No. 4, 2018

Jeremy Toussaint-Baptiste
Epistemophobia

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For aCCeSsions Issue 4, Jeremy Toussaint-Baptiste has created a looping soundtrack that utilizes a range of bass and sub-bass tones, which are barely audible through laptop speakers but “hyperaudible” through headphones. For Toussaint-Baptiste, hyperaudibility refers to sounds that are physically and noticeably felt within the body that may provoke feelings of pleasure, pain, gratification, or longing. His physically resonant compositions are concerned with the dual capacity of bass to force bodies into submission or excite them into propulsion—how bass may be used as a tool both for liberation and for subjugation. He has titled this piece Epistemophobia, after the fear of gaining too much or the wrong kind of knowledge. The low, drawn-out bass of Epistemophobia grounds the issue, threading through its various contributions.

BIO

Jeremy Toussaint-Baptiste is a Bessie-nominated composer, designer, and performer living and working in Brooklyn, NY. In 2014, he received his MFA from Brooklyn College’s Performance and Interactive Media Arts program, and in 2017, was an Artist-in-Residence at ISSUE Project Room, Brooklyn. Toussaint-Baptiste is a founding member of the performance collective Wildcat! and frequently collaborates with performers and fine artists, including Will Rawls, Yanira Castro / a canary torsi, Jaamil Olawale Kosoko, and André M. Zachery. He has presented work at the Brooklyn Museum; The Kitchen, New York; ISSUE Project Room, Brooklyn; Studio Museum in Harlem, New York; Philadelphia Museum of Art; FringeArts, Philadelphia; Tanz im August at HAU3, Berlin; and Stoa, Helsinki, among others.

aCCeSsions Issue 4 — aCCeSsions

Editorial
aCCeSsions Issue 4

Issue 4 of aCCeSsions took shape over the course of many months, within an affective landscape at once uncertain, taxing, bleak, and galvanizing. As we arrived to CCS Bard in 2016, and began to work collaboratively that first Fall, warning signs dotted the yards we passed by on our daily commutes through upstate New York. Following the election we met repeatedly, filled with questions: In this time of blatant lying and rapid erasure, what is the efficacy, relevance, and validity of our work as curators, writers, and editors? How may we responsibly make use of our resources through the work of cultural production?

We have carried these questions with us while making this issue, endeavoring to find grounding in slower forms of interpersonal contact, through translation, conversation, reuse, and dedication. Specifically, we see these as approaches that move beyond the algorithmic molds and informational news streams that structure much of daily communication.

The form of each piece in Issue 4 is as pertinent as its subject. Imprints—what we find, leave behind, and what is left upon us—have been a motivating force. In dialogue with artists, poets, and writers, this issue makes public our collective preoccupations concerning questions of care, memory, responsibility, and attention. Eight commissions propose modes for revisiting, reproducing, and recontextualizing what remains in transition over time as residue between languages, and from one body to another.

Online publications welcome and are well-suited to shifting media and circulating words. Here, a commissioned soundtrack cohabits with texts in different languages; previously published works are animated anew through coding, voiceover, or translation, and recorded moments of exchange extend the lives of existing materials. Still filled with questions, we are glad to find a sense of certainty and possibility in close contact with the work of manuel arturo abreu, Anne Boyer, Tamara Díaz Bringas, Jesse Darling, Elisabeth Lebovici, Tavi Meraud, Jeremy Toussaint-Baptiste, and Ian Wilson. We offer this next issue to be read, watched, listened to, and accessed across its range.

We would like to thank our designers, Other Means, for their generous collaboration. Thank you to the translators and copyeditors, Paula Villanueva Ordás, Daniel Hendrickson, and Jaclyn Arndt, and to Amy Zion, Roxana Fabius, our colleagues and faculty at CCS Bard, and to the many other individuals who inspired and were involved in this project.