[{"data":1,"prerenderedAt":191},["ShallowReactive",2],{"article:it-starts-with-a-lullaby-take-care-my-boy-by-kite":3,"page:48":118,"page:321":154},{"id":4,"slug":5,"title":6,"excerpt":7,"date":8,"year":9,"formattedDate":10,"typeIds":11,"typeNames":13,"wordCount":15,"isBlack":16,"image":17,"contributors":24,"contentHtml":29,"finalContentHtml":30,"creditsHtml":22,"pdfUrl":31,"vimeo":31,"contributorBios":32,"seo":37},1194,"it-starts-with-a-lullaby-take-care-my-boy-by-kite","It starts with a lullaby \u002F\u002F Take Care, My Boy by Kite","\u003Cp>Dion Smith-Dokkie reviews Kite’s latest iteration of\u003Cem>Take Care, My Boy\u003C\u002Fem>, at SFU’s Fei and Milton Wong Experimental Theatre in March 2022.\u003C\u002Fp>\n","2022-07-05T11:18:01",2022,"Jul 2022",[12],9,[14],"Review",1052,false,{"src":18,"srcset":19,"width":20,"height":21,"alt":22,"lqip":23},"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F07\u002Fdion-splash.jpg","https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F07\u002Fdion-splash-768x432.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F07\u002Fdion-splash-1536x864.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F07\u002Fdion-splash.jpg 1920w",1920,1080,"","data:image\u002Fwebp;base64,UklGRmgAAABXRUJQVlA4IFwAAAAwBACdASogABIAPu1iqE2ppaiiMBgMATAdiWUAsOwY6JjMl4Ay0Aod+cAA\u002Fuw9rg0tBK3fnHEFdnVyvCek+I4959qiLzyxf8hU3QXAQqJSVFxuN\u002Fml5J1Jg8AAAA==",[25],{"id":26,"name":27,"slug":28},1193,"Dion Smith-Dokkie","dion-smith-dokkie","\n\u003Cfigure class=\"wp-block-image size-full\">\u003Cspan class=\"lqip-wrap\" style=\"background-image:url("data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 180'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRrgAAABXRUJQVlA4IKwAAACQBQCdASogABIAPu1mqk2ppaQiMAgBMB2JYwDCgYwwzrZ5TDRG1L2KfvQDMSTE9HzBPGVWoAD+9DJgwBDwkgmbpVJfSCJ57iepslPDct7oPN5B2TQCuV4fnFZMYGxzCfnR0UI54Q4AczK3dCwjN+VUtVruM2Sz1DPfFWSm7766jT6kvSuBtsEQTzgZ+Rli45kX9tBnJcm6P9cmkDUYxwk7Nu5BCgdVRKUiYAAA'\u002F%3E%3C\u002Fsvg%3E")\">\u003Cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F07\u002Fdion-feature.jpg\" alt=\"\" class=\"lqip wp-image-1197\" srcset=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F07\u002Fdion-feature.jpg 1920w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F07\u002Fdion-feature-768x432.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F07\u002Fdion-feature-1536x864.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F07\u002Fdion-feature-100x56.jpg 100w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \u002F>\u003C\u002Fspan>\u003Cfigcaption>Kite, \u003Cem>Take Care, My Boy\u003C\u002Fem> \u003Cem>for New Music Vancouver \u003C\u002Fem>(2021), digital.\u003C\u002Ffigcaption>\u003C\u002Ffigure>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">On March 2, 2022, I attended a performance entitled \u003Cem>Take Care, My Boy \u003C\u002Fem>by\u003Cem> \u003C\u002Fem>Kite — aka Suzanne Kite — at Simon Fraser University’s Fei and Milton Wong Experimental Theatre. The work premiered on October 28, 2021 as a part of the \u003Cem>Electric Fields \u003C\u002Fem>program at Vancouver New Music’s \u003Cem>E-Fest\u003C\u002Fem>. \u003Cem>Take Care, My Boy\u003C\u002Fem> is an hour-long performance mediated through Kite’s A.I. hair-braid interface, devised from a collage of text and field recordings taken over a period of six months. Marking the time between the deaths of both of the artist’s grandfathers, Kite’s performance reconfigures her loss into a conduit, a reflection pool outside of normative space-time.\u003Cspan id='easy-footnote-1-1194'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-1-1194' content='“E-Fest 2021: Electric Fields,” \u003Cem>Vancouver New Music\u003C\u002Fem>, March 22, 2022, \u003Ca href=\"https:\u002F\u002Fnewmusic.org\u002Felectric-fields\u002F\" target=\"_blank\" rel=\"noreferrer noopener\">https:\u002F\u002Fnewmusic.org\u002Felectric-fields\u002F\u003C\u002Fa>.' v-tippy='{ allowHTML: true }'>1\u003C\u002Fsup>\u003C\u002Fspan> Since its premiere, Kite has been continuing development of the work, and what I saw in March 2022 was its most recent iteration. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">I remember asking Kite if I could write about her practice back in 2018, where our paths crossed at the Initiative for Indigenous Futures in Montreal. Kite was a PhD candidate and graduate research assistant; I was completing my BFA and found her work inspiring, but was not yet ready to engage with it critically, as I struggled to put into words how deeply it affected me.  \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Kite’s work has remained with me through the years. Referring to the performance as an embodied ‘collage’, Kite proposes a vivifying kind of remembrance, using “experiments with A.I. text and machine learning interactions”\u003Cspan id='easy-footnote-2-1194'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-2-1194' content='Kite, “Take Care, My Boy,” Kite, accessed June 3, 2022, \u003Ca href=\"http:\u002F\u002Fkitekitekitekite.com\u002Fportfolio\u002Fitems\u002Ftake-care-my-boy\u002F\" target=\"_blank\" rel=\"noreferrer noopener\">http:\u002F\u002Fkitekitekitekite.com\u002Fportfolio\u002Fitems\u002Ftake-care-my-boy\u002F\u003C\u002Fa>.' v-tippy='{ allowHTML: true }'>2\u003C\u002Fsup>\u003C\u002Fspan> to remediate the longing created by distance. The experience of longing is an active process in which things that feel as if they should belong together decouple and grow apart. For instance, in 2019, my nephew was born in northwest Alberta, and I moved from Montreal to Vancouver. Since then, he and his big sister have grown quite a lot. I am missing this. As I am not able to be close to them, I long for direct participation in their lives. Many share this experience of long-range belonging in face of irrecuperable time. \u003Cem>Take Care, My Boy \u003C\u002Fem>is replete with this long-range belonging. As I watch Kite dance, memories of my family flood me and I ask: what does distance from them cost me; who misses me; who am I when I’m not where I belong? My eyes are cloudbursts.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Kite’s performance is conducted through a custom-built modular interface that conjoins the artist’s body, projected video, a violin and sound system, cables, mixers, sample packs, and her signature hair-braid controller. Standing at the centre of the theatre, Kite hums soothingly as she draws the bow across the strings: I imagine her grandfather singing the lullaby. The notes meld with the artist’s voice and each instrument evokes the other, ever expanding from the modular framework which Kite manipulates through not only the refinement of her instruments, but through the movements of her body. In the ensuing discussion following the performance, the artist — a leading figure in collaborative Indigenous AI conceptualization, as evidenced through her work around “making kin with the machine”\u003Cspan id='easy-footnote-3-1194'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-3-1194' content='Jason Edward Lewis, et al., “Making Kin with the Machines,” \u003Cem>Journal of Design and Science\u003C\u002Fem> (July 2018), \u003Ca href=\"https:\u002F\u002Fdoi.org\u002F10.21428\u002Fbfafd97b\" target=\"_blank\" rel=\"noreferrer noopener\">https:\u002F\u002Fdoi.org\u002F10.21428\u002Fbfafd97b\u002F\u003C\u002Fa>.' v-tippy='{ allowHTML: true }'>3\u003C\u002Fsup>\u003C\u002Fspan>  — notes that the performance itself does not directly address her work on reciprocal and respectful relations with technological and \u003Cem>artificial \u003C\u002Fem>beings. Instead, the performance is a result of this research through the integration of a purpose-made AI that ‘dances’ with Kite. The AI ‘machine’ registers changes in the performer’s movement, proximity, and speed. It then articulates a response by altering the audiovisual output. Kite, in turn, reacts with a requisite response.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">In the low light of the installation, Kite adjusts dials and buttons intermittently on the angular interface before her. Sampled sound, field recordings, and electronic music fill my ears. The projected video behind Kite undulates and scrapes: projected light oscillates between a tight, pixelated bead of blue, widening to an open, webby, oceanic garland. Then a sudden spasm, a light ray that slows to a trickle. The shivering tremolo nervously surrounds a lullaby melody, “Dybbuk Shers.\u003Cem>“\u003C\u002Fem>\u003Cspan id='easy-footnote-4-1194'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-4-1194' content='The artist’s aunt, Alicia Svigals, is a world-renowned klezmer violinist, composer, and co-founder of The Klezmatics. Here is a recording of Svigals playing “Dybbuk Shers” from the group’s 1997 album, \u003Cem>Possessed\u003C\u002Fem>: \u003Ca href=\"https:\u002F\u002Fyoutu.be\u002FJiwqJoen7QU\u002F\" target=\"_blank\" rel=\"noreferrer noopener\">https:\u002F\u002Fyoutu.be\u002FJiwqJoen7QU\u002F\u003C\u002Fa>.' v-tippy='{ allowHTML: true }'>4\u003C\u002Fsup>\u003C\u002Fspan> Normally, a gesture falls away as soon as it is enacted, but the relationship of movement between Kite and the AI coagulates her gestures; they become component units in a larger event. The artist refers to these units as “quotations”\u003Cspan id='easy-footnote-5-1194'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-5-1194' content='Kite aka Suzanne Kite, “\u003Cem>Take Care, My Boy\u003C\u002Fem>” (artist talk, Suzanne Kite: \u003Cem>Take Care, My Boy\u003C\u002Fem>, Vancouver, BC, March 2, 2022).' v-tippy='{ allowHTML: true }'>5\u003C\u002Fsup>\u003C\u002Fspan> that introduce and accrete particles of memory, coalescing into strands, building up and feeding back as torrents. The somatic, body-encoded memory contorts the artist in a loop between the AI interface, the performer, and the visuals. In this way, Kite establishes an immersive field through pressure changes and, fluctuations in chrono-atmospheric density. At once a dance, a controller, and evidence of gravitational pull, the performance liquefies the room, leaving the viewers in waves and currents.\u003C\u002Fp>\n\n\n\n\u003Cfigure class=\"wp-block-image size-full\">\u003Cspan class=\"lqip-wrap\" style=\"background-image:url("data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 180'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRqAAAABXRUJQVlA4IJQAAAAQBQCdASogABIAPu1kqk+ppSOiMBgIATAdiUATplAANxdviik7vIeRHJPiXKK6o3fAAPxfd2m03QWEv948gWjKU4YoWSMrDgr1GBHJ4jELEvleXi9I77dXcMGcaGWv49ORuqkwZh\u002FdbbRhy+fvm+Uc+MuidTmSzj97gSnglvC0hLkFR\u002FRRQJ7j\u002FPB63rHBAXJMQAAA'\u002F%3E%3C\u002Fsvg%3E")\">\u003Cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F07\u002Fdion-second.jpg\" alt=\"\" class=\"lqip wp-image-1196\" srcset=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F07\u002Fdion-second.jpg 1920w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F07\u002Fdion-second-768x432.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F07\u002Fdion-second-1536x864.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F07\u002Fdion-second-100x56.jpg 100w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \u002F>\u003C\u002Fspan>\u003Cfigcaption>\u003Cem>Take Care, My Boy\u003C\u002Fem>.\u003C\u002Ffigcaption>\u003C\u002Ffigure>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Near the end of the performance, the artist stands and sways with a bottle of mezcal in hand. This is another quotation, a memory bubbling to the surface, from a recent tour, when Kite and her friends would share a bottle to celebrate. Kite dances some more, and casually wanders around the stage. Then a voice from the PA — her grandfather’s last words breaks over the room: “Take care, my boy.” For an instant I flicker somewhere else: laughing with grandma, floating through the club. Kite’s cherished grandfathers join her at a threshold made of reminiscences, in a new kind of time zone. Meditating on the performance over a visit with my grandparents, I wonder: will these memories sustain me in the coming decades, through the choices I make to be away from them to be here? \u003Cem>Who lifted you up? Where are they? When will you see them again?\u003C\u002Fem> This is a futurism that draws home nearer, always and wherever. It starts with a lullaby.\u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:60px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\u003Cdiv class=\"easy-footnote-title\">\u003Cp>\u003Cstrong>Notes:\u003C\u002Fstrong>\u003C\u002Fp>\u003C\u002Fdiv>\u003Col class=\"easy-footnotes-wrapper\">\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-1-1194\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>“E-Fest 2021: Electric Fields,” \u003Cem>Vancouver New Music\u003C\u002Fem>, March 22, 2022, \u003Ca href=\"https:\u002F\u002Fnewmusic.org\u002Felectric-fields\u002F\" target=\"_blank\" rel=\"noreferrer noopener\">https:\u002F\u002Fnewmusic.org\u002Felectric-fields\u002F\u003C\u002Fa>.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-1-1194\" aria-label=\"Back to note 1 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-2-1194\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Kite, “Take Care, My Boy,” Kite, accessed June 3, 2022, \u003Ca href=\"http:\u002F\u002Fkitekitekitekite.com\u002Fportfolio\u002Fitems\u002Ftake-care-my-boy\u002F\" target=\"_blank\" rel=\"noreferrer noopener\">http:\u002F\u002Fkitekitekitekite.com\u002Fportfolio\u002Fitems\u002Ftake-care-my-boy\u002F\u003C\u002Fa>.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-2-1194\" aria-label=\"Back to note 2 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-3-1194\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Jason Edward Lewis, et al., “Making Kin with the Machines,” \u003Cem>Journal of Design and Science\u003C\u002Fem> (July 2018), \u003Ca href=\"https:\u002F\u002Fdoi.org\u002F10.21428\u002Fbfafd97b\" target=\"_blank\" rel=\"noreferrer noopener\">https:\u002F\u002Fdoi.org\u002F10.21428\u002Fbfafd97b\u002F\u003C\u002Fa>.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-3-1194\" aria-label=\"Back to note 3 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-4-1194\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>The artist’s aunt, Alicia Svigals, is a world-renowned klezmer violinist, composer, and co-founder of The Klezmatics. Here is a recording of Svigals playing “Dybbuk Shers” from the group’s 1997 album, \u003Cem>Possessed\u003C\u002Fem>: \u003Ca href=\"https:\u002F\u002Fyoutu.be\u002FJiwqJoen7QU\u002F\" target=\"_blank\" rel=\"noreferrer noopener\">https:\u002F\u002Fyoutu.be\u002FJiwqJoen7QU\u002F\u003C\u002Fa>.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-4-1194\" aria-label=\"Back to note 4 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-5-1194\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Kite aka Suzanne Kite, “\u003Cem>Take Care, My Boy\u003C\u002Fem>” (artist talk, Suzanne Kite: \u003Cem>Take Care, My Boy\u003C\u002Fem>, Vancouver, BC, March 2, 2022).\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-5-1194\" aria-label=\"Back to note 5 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003C\u002Fol>","\u003Cp>\u003Cstrong>Images\u003C\u002Fstrong>\u003C\u002Fp>\n\u003Col>\n\u003Cli>\n\u003Cp class=\"p1\">\u003Cspan class=\"s1\">Kite, \u003Ca href=\"https:\u002F\u002Fvimeo.com\u002F673272246\" target=\"_blank\" rel=\"noopener\">\u003Ci>Take Care, My Boy\u003C\u002Fi> \u003Cem>for Vancouver New Music \u003C\u002Fem>\u003C\u002Fa>(2021), 19 minutes 28 seconds, digital. Courtesy of the artist.\u003C\u002Fspan>\u003C\u002Fp>\n\u003C\u002Fli>\n\u003Cli>Ibid.\u003C\u002Fli>\n\u003C\u002Fol>\n",null,[33],{"id":26,"slug":28,"name":27,"firstName":34,"lastName":35,"bioHtml":36},"Dion","Smith-Dokkie","\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>Dion Smith-Dokkie\u003C\u002Fstrong> (he\u002Fthey) is a visual artist currently residing in Vancouver on xʷməθkʷəy̓əm, Skwxwú7mesh, and səl̓ílwətaʔɬ homelands. They are a recent graduate of the UBC MFA in Visual Arts program and hold a BA Humanities (Women’s Studies) from UVIC and a BFA in Painting and Drawing from Concordia. They are a gay mixed-race European-Indigenous man and are a member of West Moberly First Nations, a Treaty 8 First Nation located in northeastern British Columbia. In their practice, Dion deals with envelopes, mutation, interface phenomena, and media skins in the fields of painting, drawing, and video. Alongside this, they teach and sometimes write about art. \u003C\u002Fp>\n",{"title":38,"description":39,"robots":40,"og_locale":46,"og_type":47,"og_title":38,"og_description":39,"og_url":48,"og_site_name":49,"article_publisher":50,"article_modified_time":51,"og_image":52,"twitter_card":55,"twitter_site":56,"twitter_misc":57,"schema":59},"It starts with a lullaby \u002F\u002F Take Care, My Boy by Kite - ReIssue","Dion Smith-Dokkie reviews Kite's latest iteration of Take Care, My Boy, at SFU's Fei and Milton Wong Experimental Theatre in March 2022.",{"index":41,"follow":42,"max-snippet":43,"max-image-preview":44,"max-video-preview":45},"noindex","follow","max-snippet:-1","max-image-preview:large","max-video-preview:-1","en_US","article","https:\u002F\u002Freissue.pub\u002Farticles\u002Fit-starts-with-a-lullaby-take-care-my-boy-by-kite\u002F","ReIssue","https:\u002F\u002Fwww.facebook.com\u002Freissue.pub\u002F","2022-07-06T17:54:27+00:00",[53],{"width":20,"height":21,"url":18,"type":54},"image\u002Fjpeg","summary_large_image","@reissuepub",{"Est. reading time":58},"5 minutes",{"@context":60,"@graph":61},"https:\u002F\u002Fschema.org",[62,77,79,93,108],{"@type":63,"@id":48,"url":48,"name":38,"isPartOf":64,"primaryImageOfPage":66,"image":68,"thumbnailUrl":18,"datePublished":69,"dateModified":51,"description":39,"breadcrumb":70,"inLanguage":72,"potentialAction":73},"WebPage",{"@id":65},"https:\u002F\u002Freissue.pub\u002F#website",{"@id":67},"https:\u002F\u002Freissue.pub\u002Farticles\u002Fit-starts-with-a-lullaby-take-care-my-boy-by-kite\u002F#primaryimage",{"@id":67},"2022-07-05T18:18:01+00:00",{"@id":71},"https:\u002F\u002Freissue.pub\u002Farticles\u002Fit-starts-with-a-lullaby-take-care-my-boy-by-kite\u002F#breadcrumb","en-US",[74],{"@type":75,"target":76},"ReadAction",[48],{"@type":78,"inLanguage":72,"@id":67,"url":18,"contentUrl":18,"width":20,"height":21},"ImageObject",{"@type":80,"@id":71,"itemListElement":81},"BreadcrumbList",[82,87,91],{"@type":83,"position":84,"name":85,"item":86},"ListItem",1,"Home","https:\u002F\u002Freissue.pub\u002F",{"@type":83,"position":88,"name":89,"item":90},2,"Articles","https:\u002F\u002Freissue.pub\u002Farticles\u002F",{"@type":83,"position":92,"name":6},3,{"@type":94,"@id":65,"url":86,"name":49,"description":95,"publisher":96,"potentialAction":98,"inLanguage":72},"WebSite","critical discourse for experimental art practices",{"@id":97},"https:\u002F\u002Freissue.pub\u002F#organization",[99],{"@type":100,"target":101,"query-input":104},"SearchAction",{"@type":102,"urlTemplate":103},"EntryPoint","https:\u002F\u002Freissue.pub\u002F?s={search_term_string}",{"@type":105,"valueRequired":106,"valueName":107},"PropertyValueSpecification",true,"search_term_string",{"@type":109,"@id":97,"name":49,"url":86,"logo":110,"image":114,"sameAs":115},"Organization",{"@type":78,"inLanguage":72,"@id":111,"url":112,"contentUrl":112,"width":20,"height":113,"caption":49},"https:\u002F\u002Freissue.pub\u002F#\u002Fschema\u002Flogo\u002Fimage\u002F","https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F06\u002Freissue_logo.jpg",1118,{"@id":111},[50,116,117],"https:\u002F\u002Fx.com\u002Freissuepub","https:\u002F\u002Fwww.instagram.com\u002Freissue.pub\u002F",{"id":119,"slug":120,"title":85,"contentHtml":22,"acf":121,"backgroundBlur":124,"seo":125},48,"home",{"background_image":122,"isBlack":16,"header_text":123},"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2026\u002F11\u002Fdaisy_reissue_2.jpg","ReIssue: art and criticism in \u003Cbr>\r\nthe cosmos of cultural production","url(\"data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 213'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRoIAAABXRUJQVlA4IHYAAADwBACdASogABUAPu1qqlEppaOiqAqpMB2JZwAAKf0c+TYjyG8vhTeRaShCpli8uAAA\u002FnFf8QBzP1T7FqMQfN+5P0sEZp4TM\u002FtvUeu\u002F6PKH+GHrebLLz8IW4Q6wQ5kHZO6aqggnKrdkv+u62izeOgqi4jMyAAAA'\u002F%3E%3C\u002Fsvg%3E\")",{"title":126,"robots":127,"og_locale":46,"og_type":47,"og_title":126,"og_url":128,"og_site_name":49,"article_publisher":50,"article_modified_time":129,"twitter_card":55,"twitter_site":56,"schema":130},"Home - ReIssue",{"index":41,"follow":42,"max-snippet":43,"max-image-preview":44,"max-video-preview":45},"https:\u002F\u002Freissue.pub\u002Fhome\u002F","2026-11-14T21:58:11+00:00",{"@context":60,"@graph":131},[132,140,144,150],{"@type":63,"@id":128,"url":128,"name":126,"isPartOf":133,"datePublished":134,"dateModified":129,"breadcrumb":135,"inLanguage":72,"potentialAction":137},{"@id":65},"2018-04-21T23:04:08+00:00",{"@id":136},"https:\u002F\u002Freissue.pub\u002Fhome\u002F#breadcrumb",[138],{"@type":75,"target":139},[128],{"@type":80,"@id":136,"itemListElement":141},[142,143],{"@type":83,"position":84,"name":85,"item":86},{"@type":83,"position":88,"name":85},{"@type":94,"@id":65,"url":86,"name":49,"description":95,"publisher":145,"potentialAction":146,"inLanguage":72},{"@id":97},[147],{"@type":100,"target":148,"query-input":149},{"@type":102,"urlTemplate":103},{"@type":105,"valueRequired":106,"valueName":107},{"@type":109,"@id":97,"name":49,"url":86,"logo":151,"image":152,"sameAs":153},{"@type":78,"inLanguage":72,"@id":111,"url":112,"contentUrl":112,"width":20,"height":113,"caption":49},{"@id":111},[50,116,117],{"id":155,"slug":156,"title":157,"contentHtml":158,"acf":16,"backgroundBlur":31,"seo":159},321,"subscription-banner","Subscription Banner","\n\u003Cp class=\"wp-block-paragraph\">ReIssue is unfunded, wild and free. 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