ABOVE: Streets of Manhattan Winter
The crisp light and air of a dry northeastern winter's day beckons me to don all manner of warm clothing and partake of all manner of painkillers and break out into the streets for a deep session of the dancing and skating hybrid I have dubbed Steppin' Roll. I truly appreciate the onset of winter because it frees the streets of laggard indecisive pedestrians, recreational skaters or bicyclist and gawkers. In the gift that is winter most pedestrians in the street are trudging in a straight line hurriedly often running to just get back to their warmth and cover. The bikers on the street at say, 15 degrees Fahrenheit, are almost all very experienced and there are veritably no street skaters out. The frigid days of winter also keeps people in their vehicles behind glass eliminating the habit of spewing some unintelligible crap from the open window that would, during summer, sneak into my flow just under my headphone volume level to inform me of their presence.
ABOVE: Street Performance Pittsburgh 2006 ( i think ) noone from the crowd is helping me off the ground because they just saw the big dance move before the collapse.
Following the "more" is an account of my experience I have written to share publicly a real world example of how the phenomena “Weight of Empathy” plays itself out in my real life. This story will also share how my act of labeling and defining the phenomena “Weight of Empathy” is empowering to me and helps me frame past experiences of it. Finally this story will also provide a context for my practice of sociological anthropology as a performance and language based conceptual art in which the defined and labeled phenomena is explored in realtime and space with the intention of discovering new territories of interaction with the public that subvert or circumvent the standard parameters of a given phenomena.
This video shows my transient presence through the streets of manhattan on a skateboard with a suitcase full of cameras between my legs. Take note of my reflections in the vehicles I pass them with the rig. Bench is a work within the Shannon Public Works Trilogy. The trilogy consist of divergent attempts at bringing my street performance art, rhythmic and utilitarian skateboarding, streetdance, choreography and clown like rapport with randomn pedestrians to live ticketed audiences in an authentic manner. The key to authenticity, which all the works were designed around, was the preservation of the social fabric of the street and the pedestrian and vehicular trafffic patterns therein.