owen plotkin notes for a lyric

what is permanent?
a house may survive it’s family.
and it’s family again
for how many generations
infants taken home
and then the backhoe takes it down
what is permanent?
a grandchild a grandmother
a staircase
a swing
a garden
what is permanent?
a universe?
a hand offered
a hand taken and held
a heart filled
and broken
what is permanent?
a vow
an oath
a promise
a lie
a moment relived
and relived again
what is permanent?
a naked swim
the ocean
a graveyard
a smile
eyes filling with tears
a dizzy rush of anticipation
what is permanent?
a leaf on the wind
a fading rose on old wood
what is permanent
a wish

@owen plotkin

my little garden © owen plotkin journal

owen plotkin journal

My little garden
here I am
my dear little garden
be mine.
you are quiet and
you are patient
you ask little,
just room to grow
my little garden
in a little space
your green, delights
your color, magnetic.
your fragrance,
is subtle, seductive
to bees.
You live and bloom
bloom again and die
and live again.
Each day, with sleeping
and coming awake, we live
like a garden. Only, finite.


Daily Practice. journal entry. owen plotkin

Daily practice
A faulty instrument
behind a door propped up in a broom closet
a clarinet with bad posture
singing like Rauschenberg’s goat
shamed,splattered with paint,decaying
and humiliated by an old tire.
And celebrated? A prize in the
permanent collection. A shadow
phantom earlier self, circles the antique
modern self of now. What song is this?
What rough soulful sound?

Summer. Peas in a Pod. owen plotkin

When I was a kid my friend’s Mom would hand us each a big paper bag of peapods to shell, we’d sit on his front step and pop round green peas into a big metal bowl and pass a summer afternoon, talking and joking about stuff 8 year old kids would talk and joke about in those days. I loved my street and my friend and his Mom and Dad and his two older brothers too. I’d say I was lucky, wasn’t I.

A Christmas Carol in Prose, Being a Ghost-Story of Christmas. 2016.

I attended a performance of “A Christmas Carol” this evening. My son sings in the high school chorus that accompanied the reading. As I sat listening I thought, “What if THAT MAN had been here tonight and heard these words – this old story told a hundred different ways and a thousand thousand times – read so vigorously by the Minister? What if he had listened to these carols, these accomplished young voices are singing? Would he have been moved as I was by the sound of the organ and voices filling that old chapel – its’ cornerstone laid on December 20, 1866 – in The First Baptist Church on Elm Street? Would he find the lesson in Dickens’ brilliant writing as stirring as I did tonight? Would the inspiration that opens the heart, open his? This story – published December 19, 1843 – moves me, a Jewish man, as I suspect it moves Christians,Muslims,Hindus,Buddhists and Atheists alike. Would this deceptively simple story of reflection and redemption have reached and changed him tonight? Could it? Oh that it could! Let us pray. All who wish to take this old tale’s lesson to heart. Let us try, at least,to take this lesson to heart. I think you may agree, this is not so simple a task, for any of us.


He was not alone, but sat by the side of a fair young girl in a mourning-dress: in whose eyes there were tears, which sparkled in the light that shone out of the Ghost of Christmas Past.
“It matters little,” she said, softly. “To you, very little. Another idol has displaced me; and if it can cheer and comfort you in time to come, as I would have tried to do, I have no just cause to grieve.”
“What Idol has displaced you?” he rejoined.
“A golden one.”
“This is the even-handed dealing of the world!” he said. “There is nothing on which it is so hard as poverty; and there is nothing it professes to condemn with such severity as the pursuit of wealth!”
“You fear the world too much,” she answered, gently. “All your other hopes have merged into the hope of being beyond the chance of its sordid reproach. I have seen your nobler aspirations fall off one by one, until the master-passion, Gain, engrosses you. Have I not?”

Seen a lot in my time in NYC owen plotkin

Seen a lot in my time in New York City. Saw the rise of CBGB’s and I’ve seen the end of it. Stood next to Joey Ramone playing pinball. Walked down Joey Ramone Place cursing cancer. Watched the South Tower fall in silence with my bare eyes from across the river in Jersey City. Saw my next door neighbor’s grief, knowing her son would not return from Cantor Fitzgerald that day. I lost family, I lost friends and I lost coworkers to the monster named AIDS in the 80’s and 90’s. Thousands of New Yorkers were murdered by that monster. Saw my hero walking down the street just like any average New Yorker. Felt proud he chose to make this town, his town. He was gunned down right in front of the love of his life, at the Dakota. New York City. Full of bluster,full of bombast,full of pride and covered in filth. I celebrated our empathy and loathed our apathy. It’s a tough place, filled with pricks,assholes and kind souls. I’m not special. I’ve just walked around here for a while and I just don’t want to forget. Did you see me around? I saw you.
there’s an AIDS memorial being built in NYC. At a place that used to be St Vincent’s Hospital. “The New York City AIDS Memorial Park at St. Vincent’s Triangle.”
http://nycaidsmemorial.org/ #911 #CBGB # Joey Ramone #JohnLennon #ActUp

collage @ owen plotkin

collage @ owen plotkin

9/11 #911 owen plotkin

I was in Jersey City trying to get to work. I pulled off US Rt 1 and made it to a hill overlooking the river. I got out of my car and joined a group of old men and school children with their teacher. We stood together behind a chain link fence and watched the burning tower silently collapse. The smell of burning plastic in the air. I got into my car, the streets of Jersey City were empty, frozen, silent and numb. I headed back home to get Shawn and the kids. Then we drove the hour south to my Mom’s house. The unthinkable image burned into my retina. The sun trapped in a clear blue bright sky.


“The attack occurred, I stood and watched the buildings fall with my own eyes, smelled the burning plastic from across the river,later at home, my eyes and ears were unnerved by the television as it became an unrelenting fear machine.” #911

too close. fear machine

Hungrr at iPhone launch

#tbt 8 years ago the first iPhone went on sale, and we were there. 223230_19251256496_4574_n

the Hungrr video

Press in Salon
Fark’ers got involved too
And in 2007 student/journalist Alex Rosenblatt interviewed me..

1. What is your name and title?
Owen Plotkin, founder, Hungrr, LLC.
2. What do you believe are the root causes of hunger and food insecurity in America?
Illiteracy. Poor public education. Loss of manufacturing jobs in the US. Low minimum wages in most states. Food stamp rules and application requirements that are too complicated for many uneducated, elderly and handicapped individuals. The general public’s lack of awareness of the facts surrounding hunger in America. An unwillingness on the part of politicians and corporations to acknowledge the facts surrounding hunger in America. And sadly, unrealistic yet rampant materialism, corporate greed and a growing meanness in our culture.
3. Does the term food insecurity differ from hunger and if so, how?
“Food insecurity” includes hunger and the specter of impending hunger, but the term is also used by the current administration to remove the politically dangerous word “hunger” from the discussion of poverty in America.
4. What part of the population would you say is most vulnerable to food insecurity or poverty?
Low income workers and their children, single parent households, minorities, the elderly, handicapped and disabled people.

5. Hunger in America does not manifest it self in the same way as it does in other nations (distended bellies and starvation). Is it as a serious of a problem?
It is not about starvation. Sadly, the problem is often hidden malnutrition, and that especially effects children, their normal development and ability to learn. There is the problem of obesity caused by people filling up on cheap junk and fast foods rather than eating more expensive healthy foods including fruits and vegetables. It is very serious because of the growing disparity between the rich and the poor and the disappearing middle class in this, the richest nation on Earth.
6. Do you believe that U.S. food assistance programs such as food stamps and the school breakfast program are effective at abating hunger?
Every little bit helps. Weekend and summer programs – where available – help too.
7. Are food banks effective at abating hunger?
Yes, but there is a growing need for assistance.
8. Some people say that food banks create a situation of dependency do you think that this is possible?
I think it is much more likely that a lack manufacturing jobs, career opportunities, training and adequate public education in poorer urban and rural areas, create real need.
9. Do you believe there are programs the government should implement in order to encourage food self sufficiency?
I think there are many ways government can help overcome hunger in America. And I don’t think it is necessary to create more programs or bureaucracies or “throw money at the problem” to do so.
10. Do you believe that empowering low income urban residents with the ability to grow their own food would be an effective way of solving food insecurity?
Yes, but another public garden was destroyed just a month ago in NYC. Skyrocketing rents and housing values in many cities are making urban gardens more and more difficult to sustain.
11. How important is increasing the awareness of the public?
In my opinion, awareness is more important than anything else.
12. Is there anything else that you believe is important concerning the situation of hunger?
I think there is a socially destructive dearth of civic responsibility on the part of businesses in America and the world. I think that business must take responsibility for the society that allows it – by providing an open marketplace – to thrive.

owen plotkin featured in atelier.digitaliiis

owen plotkin featured in atelier.digitaliiis

Description :

The file COLORX uses static color fields in a way that is similar to Chris Ashley’s work, but pushes the block style in order to formalize a representation of firelight.
Owen Plotkin has chosen a subject that is ephemeral, changing, and hard to capture in a static image.
As a result, his mathematical and systematic geometricization of such an infinitely nuanced phenomena abstracts it beyond any visual likeness.
This piece is selected from Plotkin’s series, Colorbots
a set of works that further point to the automated and often homogenous look of computer visualizations of natural phenomena.

Origine : Etats Unis
Date : 2003

Hunger In America Hijack 2005 owen plotkin

At the time America’s Second Harvest had very little of the public’s attention. I used some bad boy action to
see if they could get a little more attention. Understandably they were not happy. Got a cease and desist letter. I revised to image to feature Jeff Bridges’ hunger non profit. End Network. Second Harvest changed the org’s name to Feeding America not too long after. Nowadays they have a very good marketing and pr team and lot’s of awareness now.

owen plotkin hijacked an ad for hunger awareness stunt
bad boy

interview owen plotkin soundlab


Owen Plotkin

artist biography
Interview : 10 questions

1. When did you start making music, what is/was your motivation to do it?

I was 14. I wanted to make music. I was surrounded by music. My Father loved Opera and played it incessantly.
He gave me his classical guitar. I taught myself to play it. My Mother loved jazz and often played me her records.
There was rock and roll on the radio waves.

2. Tell me something about your living environment and the musical education.

See answer to question one.

3. Is making music your profession? What is the context in which you practice music nowadays?

I have never made more than a few hundred dollars from music. I practice music every day. Music is inside me,
just like it’s inside you.

4. How do you compose or create music or sound? Have you certain principles, use certain styles etc?

Trust intuition. Open the door. Find a thread, let it lead the way. Music has nothing to do with style.

5. Tell me something about the instruments, technical equipment or tools you use?

Voice. Acoustic stringed instruments. Software synths. Electric guitars. Toys. Samplers. Software recording and editing systems. Tape based recording devices. Air. Solids. Liquids.

6. What are the chances of New Media for the music production in general and you personally?

Chance plays an important role is all creation. Very important. Choosing to contact one person. Deciding to walk
down a particular street. Answering an email. Sending one. Uploading something. Downloading something.
The chances are very good something will happen.

7. How about producing and financing your musical productions?

Try not to spend any money. But, if time is money, spend a lot. Don’t wait for money.

8. Do you work individually as a musician/soundartist or in a group or collaborative? If you have experience in both, what is the difference, what do you prefer?

Both are good. Alone.

9. Is there any group, composer, style or movement which has a lasting influence on making music?

Cage Lennon Ruggles Glass Babbitt Dylan Hendrix Moog Ives Parker Cohen Verlaine Whitman Williams Ibsen Stevens Picasso Duchamp Mitchell Carson Chekov Hemingway Fellini Antonioni Bergman Coppola Plath Ginsberg Kerouac

10. What are your future plans or dreams as a soundartist or musician?

Make more music. Have it listened to.

The Electrical Retrospectacle owen plotkin

Info on this avant garde experimental film series I curated.

The Electrical Retrospectacle

owen plotkin

One of the series:

G R E E T I N G S :
FRIDAY, JULY 19th, 9pm, Short films for the nervous system * 60’s 70’s
Projected 16mm avantgardeexperimentalunderground FILMS
projected at GALAPALOS 70 N 6th St., Brooklyn, N.Y. 718.782.5188
9pm, $10
242.PILOTS live video computer art improv ensemble. Acclaimed throughout Europe and Canada. Featuring:
Kurt Ralske – (ex ultra vivid scene) genius at large, (http://www.miau-miau.com/), HC Gilje, and Lukasz Lysakowski.
MUSIC by – Keith Fullerton Whitman and Greg Davis renowned experimental electronic music composer/performers.
and RADICAL LOW, a modern dance / live video / live electronic music performance, featuring Belgian dancer/choreographer Chantal Yzermans. “A compelling, intriguing alliance of sound and motion” – NY Times

>>>>>>OWEN PLOTKIN’S THE ELECTRICAL RETROSPECTACLE #17 <<<<<<<<<<<<< T H E F I L M S : T H E F I L M S Matrix, James Whitney (1968) color, sound, 6 min. "Visionary filmmaker plumbs the depths of percepconscienceness. All circuits are GO ! " - Plotkin Aparatus sum- Hollis Frampton (1972) color, silent, 2-1/2 min. "Hollis Frampton meditates on what remains."- Plotkin Thanatopsis , Ed Emshwiller (1962) B+W, sound, 5 min. "The moment one's mortality is revealed to be a brilliant gem, fearsome and enchanting."- Plotkin Serpent , Scott Bartlett (1971)15 min.(sound)color "This film - 31 years old - is as now as CNN 31 years from tommorow. Bartlett = genius"-- Plotkin Windowmobile, James Broughton with Joel Singer, 1977, 7-1/2 min., B+W, "Poet James Broughton is always true to his wise, his innocent soul."-Plotkin Straight and Narrow, 1970, 10 min., Beverly and Tony Conrad w/music by Terry Riley and John Cale. "A flickeringly refreshing eyeopener. Pow! "-Plotkin Arabesque for Kenneth Anger, Marie Menken ,(196?) color, sound, 4 min. music by Teiji Ito "Marie Menken's delicate hand leads one to one's own beauty. Behold."-Plotkin Time of the locust-Peter Gessner (1966) b&w, sound, 12 min. "The sky is black with bombers, the grass is crying for man."-Plotkin AND MORE! Astounding pioneering bold personal open poetic film works. Projected 16mm prints at GALAPALOS Films curated by owen plotkin info at www.colorbot.com

I am Owen Plotkin

need more owen plotkin? get more owen plotkin here.

Ginsberg blog – “Owen Plotkin’s film on and of Allen’s 1978 poem, Plutonian Ode, remains, regrettably, cautionary and timely.
B.L. Ochman What’s next blog -“Memory and dream collide in this Martin Luther King tribute video by Owen Plotkin”
2002 242.PILOTS live computer art improv ensemble
featuring Kurt Ralske and Owen Plotkin The Electrical Retrospectacle at GALAPAGOS williamsburg NYC

Hungrr LLC, a hunger awareness company
Faceblockd, how to f*k with a social network logo
Owen Plotkin interview via SoundLAB, part of “Le Musee di-visioniste – the new museum of networked art”the cyber kitchen
Owen Plotkin’s colorbot.com featured in rhizome and the new museum’s html colour exhibit”
Owen Plotkin colorbot.com exhibited at FILE 2006 Electronic Language International Festival in São Paulo
multi media performance project “Love,Love Barbara”
AND – Artists Network Database

owen plotkin videos selected


Apple Store iPhone Incident – @ owen plotkin 3:18

the day the original iphone was released I put on the orange Hungrr suit and this happened..

We were surprised they let us into the museum that day
and not surprised when they asked me to leave the garden…
Museum of Modern Art hungrr in the garden – owen plotkin (1:50)

Psynk (5:48)
images and sound and music ©owen plotkin

warning: flashing light could cause seizure in epilepsy

TOO CLOSE • A 2001 REACTION (3:48) © owen plotkin
“The attack occurred, I stood and watched
the buildings fall with my own eyes, smelled
the burning plastic from across the river,
later at home, my eyes and ears were unnerved
by the television as it became an unrelenting fear machine.

A Prayer in May. instrumental improvisation – owen plotkin 2008 (1:35)

Oh Great Machine – a song about Google censorship and China (1:13)
Jan ’06, when Google censored China’s Google search engine,
I wrote and recorded this song. – owen plotkin

Plutonian Ode (12:14) by owen plotkin
The images and audio in this film are public domain and/or
offered by creative commons and are available for download and reproduction
at the internet archive, the Prelinger archives, C.E. Price
and from the U.S. Department of Energy
National Nuclear Security Administration Nevada Site Office
Allen Ginsberg recorded Naropa Inst.