Mystical Capitalism at Sea and Space

This Sunday 7-9PM in Los Angeles

The Institute for Mystical Capitalism traces the history of economics in the United States, primarily focusing on the evolution of consumer-driven markets and the mass consumption of industrially manufactured goods. Consumer banking, spectator sports, Detroit rock and roll, conspiracy theory, and the occult synthesize into a unified theory of post-industrial economic evolution, filling in the gaps in classical economic thought.

Video Screening at Sea and Space accompanying an exhibit by Chris Bassett

A pair of documentaries looking at the architecture of Mystical Capitalism. The historical development of energy accumulating structures (baseball stadiums) and currency accumulating structures (banks) will be covered.

A little dream

From a 1996 Gary Snyder interview:

“The marks of Buddhist teaching are impermanence, no-self, the inevitability of suffering and connectedness, emptiness, the vastness of mind, and a way to realization.

“It seems evident that there are throughout the world certain social and religious forces that have worked through history toward an ecologically and culturally enlightened state of affairs. Let these be encouraged: Gnostics, hip Marxists, Teilhard de Chardin Catholics, Druids, Taoists, Biologists, Witches, Yogins, Bhikkus, Quakers, Sufis, Tibetans, Zens, Shamans, Bushmen, American Indians, Polynesians, Anarchists, Alchemists, primitive cultures, communal and ashram movements, cooperative ventures.

“Idealistic, these?” Snyder says when asked about such alternative ‘Third Force’ social movements. “In some cases the vision can be mystical; it can be Blake. It crops up historically with William Penn and the Quakers trying to make the Quaker communities in Pennsylvania a righteous place to live-treating the native peoples properly in the process. It crops up in the utopian and communal experience of Thoreau’s friends in New England.

“As utopian and impractical as it might seem, it comes through history as a little dream of spiritual elegance and economic simplicity, and collaboration and cooperating communally—all of those things together. It may be that it was the early Christian vision. Certainly it was one part of the early Buddhist vision. It turns up as a reflection of the integrity of tribal culture; as a reflection of the kind of energy that would try to hold together the best lessons of tribal cultures even within the overwhelming power and dynamics of civilization.”

courtesy Michael Sigman

Tiger Tateishi

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The Vanishing City.

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A Band Planet (1991).

-TATEISHI Tiger was born in Fukuoka in 1941.
-In 1963, he submitted a large collage to the 15th Yomiuri Independent Exhibition, which received much attention. Subsequently he went on to be heavily influenced by Pop Art, which he aptly converted to address aspects of Japanese everyday life as well as the country’s current issues.
-From the mid 60ユs, he gradually began to draw cartoons.
-In 1969 he moved to Italy, where he worked for Olivetti typewriters as a designer, while finding time to exhibit his paintings at such places as Alexander Iolas gallery.
-From the mid 80’s his work began to feature epitomizing motifs of Japan, such as Mt. Fuji.
-In 1998, he passed away in Chiba prefecture.

From his inception as an artist in 1962, until 1967, TATEISHI Tiger was known by his birth name of TATEISHI Kouichi. But from 1968 until mid 1990, he developed, for its convenient catchiness, the moniker Tiger TATEISHI, which was not only written in ‘kana’, the phonetic notation reserved for non-Japanese words, but the order of first and last name was switched to mimic the Western manner. Although he continues to be remembered posthumously by the same moniker, the ‘kana’ has been converted to Chinese characters and the order of first and last name has been reverted to the original Japanese manner.

Via the essential Giornale Nuovo.

Julian Cope's JAPROCKSAMPLER site

“When I wrote JAPROCKSAMPLER, so little had been published in English on the subject that I was forced to create first my own miniature encyclopedia of information, gradually building up the picture from millions of tiny bits of information. Of course, when the book was finished, I was left with such a colossal repository of information that I have decided to bequeath it to all fans of Japanese rock across the world in the form of these ‘Artist A-Z’ and ‘Group Sounds A-Z’ sections. Hopefully, by employing these biographies as the bedrock, japrocksampler.com will eventually become an essential resource for all future Japanese music research.

JULIAN (September 2007CE)”


Flower Travellin’ Band 1971: (L-R) Hideki Ishema/guitar), Jun Kosugi/bass, George Wada/drums, Joe Yamanaka/vocals


Taj Mahal Travellers with leader Takehisa Kosugi on violin at far left


Far East Family Band c. 1974 deploy their entire arsenal for the cameras