Kelyn Roberts Foreward And Back Note I, 2004
KR Notes, 2004 Oceanpark.ws begins, if anywhere, twenty years ago and spirals around the gathering of documents, photographs, music, memory, and each source has its own interconnectivity to both time and linearity. The present isn't any more obvious from the advantage of twenty years perspective, nor is the past more available for easy narratives.
As well as what can be seen, heard, pictured about Ocean Park, and how Ocean Park has influenced that, and the people who happened to be here, incorporated Ocean Park, it is important to realize what can be seen from Ocean Park, and those people who happened to have lived here and looked, heard, and come to know what their vistas and prospects have been. I've mentioned several times the permeability of the space, the sociality and territoriality but the automobile, the train, the plain, the plane, the media, the five or six boutique newspapers that have replaced the L.A.Times and the Evening Outlook. The wash of millions of people from Los Angeles and the tourists from all over the world; conventions and cultural events that draw five or five hundred people; the splash of radio, TV and now cable and the internet; the flyovers, drive-bys, thump-ka-thump of the vibrating speaker-car. The importaton and consumption of food in supermarkets, farmer's markets, and destination restaurants and neighborhood establishments. Transformative and permeable, a constantly shifting light, fog and something of a distance, and a cultural production that changes the ambient qualities of the neighborhood into life altering situations. People move on, out, taking what's important to them but leaving the immateriality richer, more liminal, more illuminated . . .
In the manner of Terry Schoonhaven and the Venice Fine Arts Squad, The Isle of California, and Tom Jenkins; Apocalyptic Eucaplytus; Richard Pettibon, Neo-con Romantic Revisionist, Duh? . . .
"The Whitney Brothers . . . . Five Abstract Film Exercises. When first screened in Los Angeles and New York, the films, seen as shockingly radical, were described as electronic music and neon images, "from the science fiction future."
"And now in 2012 there is an appreciable reduction in vehicular traffic noise; the ocean is more the source of crash than thump . . .