GREEN HERMETICISM symposium in NYC – Mar 1

Green Hermeticism: Alchemy and Ecology
feat. Pir Zia Inayat-Khan, Peter Lamborn Wilson and Christopher Bamford

A ONE-DAY SYMPOSIUM
Saturday, March 1, 10am–5:30pm
New York Open Center
83 Spring Street, NY, NY 10012 Ph: 212.219.2527
Members: $100 / Nonmembers: $110

Hermeticism, or alchemy, is the primordial science of nature by which human beings in all times and places have sought to unite Heaven and Earth—divinity, cosmos, earth and humanity—for the sake of the world. At once sacred cosmology and spiritual practice, art and science, it has accompanied each religious epoch and every revelation from India and China to the Abrahamic traditions of the West. Nevertheless, in the revival of spiritual traditions and practices, hermeticism and alchemy—like Nature herself—have been largely ignored. Green Hermeticism proposes that it is time to explore not only our ancient masters’ “inner” sciences, but also their sciences of Nature, in order to recover a healthy, truly holistic way of healing our relationship to nature, the Earth and the heavens. Pir Zia Inayat-Khan will introduce the topic and speak about the cosmology, angelology and practices of Sufi hermeticism. Peter Lamborn Wilson will speak about hermeticism in art, language and magic, and propose practical applications such as the creation of astrological gardens. Christopher Bamford will address hermeticism as the paradigm for a new eco-spirituality.

Co-sponsored with Seven Pillars: A Contemporary House of Wisdom, http://www.seven-pillars.org/

Christopher Bamford, editor of SteinerBooks and Lindisfarne Books, is a writer and scholar of Western esotericism, esoteric Christianity and Anthroposophy. He is the author of, most recently, An Endless Trace: The Passionate Pursuit of Wisdom in the West.

Pir Zia Inayat-Khan is the spiritual leader of the Sufi Order International, a mystical and ecumenical fellowship rooted in the visionary legacy of his grandfather, Hazrat Pir-o-Murshid Inayat Khan. Pir Zia is Founder of Seven Pillars: A Contemporary House of Wisdom and holds a Doctoral degree in Religion from Duke University.

Peter Lamborn Wilson is a poet-scholar of Sufism and Western Hermeticism and a well-known radical anarchist social thinker. He is the author of, among others, Sacred Drift: Essays on the Margins of Islam and Escape from the Nineteenth Century.

Registration info: http://www.opencenter.org/content/view/1504


January 30 is International Delete Your MySpace Account Day

Ditch MySpace

(Simon Owens) decided to catalog the many ways in which MySpace had failed him:

1. You rarely log in to MySpace except to delete spam friend requests from nude webcam girls.

2. You spend five minutes writing a wall post only to hit an error message when you try to post it because of all the website glitches.

3. You’re a girl who constantly gets marriage proposals from random men in the Middle East.

4. You visit someone’s MySpace profile only to suddenly have music start blasting out of your speakers. Bonus points if it happens to you while you’re at work.

5. You have to make redundant clicks to perform simple tasks because MySpace keeps taking you to advertisement pages where you have to click on “return to myspace profile” in order to continue what you’re doing.

6. You visit someone’s profile only to have your eyes bleed because of terrible page layout with non-matching designs and font colors.

7. Your experience is hindered because of intrusive banner ads that either talk to you or try to reach out and block your view of what you’re trying to look at.

8. You read yet another news account about how some child predator using MySpace has abducted a little girl or that some hoax myspace account has caused a teenager to commit suicide.

9. You’re frustrated with the fact that MySpace doesn’t allow you to post your contact info, meaning to contact someone you can only use MySpace’s glitchy Instant Messenger, message/email system, or wall commenting.

10. You’re tired of seeing Tom stare out at you from millions of friends lists and just wish he would change his fucking profile picture.

More at Mashable.

Meanwhile UK charity for the disabled, AbilityNet, reports that social networking sites lock out disabled users.

Update: In other news, Wired reports that “A 17-gigabyte file purporting to contain more than half a million images lifted from private MySpace profiles has shown up on BitTorrent, potentially making it the biggest privacy breach yet on the top social networking site.”


Dismantling of the Fourth Estate escalates

The Internet is claiming another victim, and the law of unintended consequences is again manifest. The dismantling of the Fourth Estate is the kind of thing that we usually associate with military-backed governments. Perhaps we should think about how much the United States has become a military-enthralled single-party-with-two-wings unity/management government; or, perhaps more to the point, we would do well to contemplate what life is like in nations where there is no meaningful watchdog press. – Jay Babcock, Arthur editor

Los Angeles Times Editor Forced Out
By RICHARD PÉREZ-PEÑA
January 21, 2008 New York Times

The top editor of The Los Angeles Times has been forced out for resisting newsroom budget cuts, executives at the paper said Sunday, marking the fourth time in less than three years that the highest-ranking editor or the publisher has left for that reason.

The removal of the editor, James E. O’Shea, by the publisher, David D. Hiller, mirrors the odd spectacle of a little more than a year ago, when the previous publisher, Jeffrey M. Johnson, was fired for refusing to eliminate newsroom jobs as directed by the paper’s owner, the Tribune Company. In each case, a longtime Tribune executive was expected to rein in costs at the paper, but instead sided with the newsroom and lost his job for it.

The departure of Mr. O’Shea appears to contradict statements by Samuel Zell, the Chicago real estate magnate who took over the company last month and is now its chairman and chief executive. Mr. Zell has repeatedly criticized the previous regime of the financially troubled company for trying to improve the bottom line by cutting costs, and he has said that he thinks the path to profit lies in finding new revenue, not paring costs.

Calls to Mr. O’Shea, Mr. Hiller and a spokeswoman for Mr. Zell were not returned. A Tribune spokesman referred inquiries to Nancy Sullivan, a spokeswoman for The Los Angeles Times, who said, “I don’t have any comment for you.”

Officials at The Times said Mr. Hiller had ordered a $4 million cut in the newsroom budget. Some said he specifically sought to cut expenses related to covering the heated presidential campaign, during a time when such expenses usually spike. Some editors and reporters said Mr. Hiller told them in a meeting in November that he wanted to reduce staff somewhat by the end of this year.

The shakeup came as a surprise to newsroom employees at The Los Angeles Times, several of whom said late last week that they had not heard about a clash between the editor and the publisher and did not have any indication that Mr. O’Shea’s job was threatened.

People at The Times said they did not know whether Mr. Hiller was acting on orders from company headquarters in Chicago or on his own initiative; Mr. Zell has said he would allow each of the Tribune properties greater autonomy.

The Los Angeles Times had a newsroom staff of more than 1,100 people at the start of this decade, but the number has declined to below 900, officials say. Its weekday circulation has dropped to about 800,000, from 1.1 million.

Tribune, whose flagship is The Chicago Tribune, bought the Times Mirror Company in 2000, acquiring its crown jewel, The Los Angeles Times, one of the nation’s largest newspapers and long regarded as one of the best. The $8 billion price was widely seen as inflated, particularly after recession struck the following year and newspaper ad revenues began a long decline.

The relationship between the Los Angeles and Chicago offices has been troubled for much of the time since then. Chicago has demanded cost savings and higher profit — officials at The Times say the paper still makes a healthy profit, despite its troubles — and the view in Los Angeles has been that the new owners are slowly killing an asset they neither value nor understand.

At first, Tribune brought in two highly regarded editors who were new to the company, John S. Carroll and Dean P. Baquet, to run The Times. But after rounds of job cuts and demands for more, Mr. Carroll quit in 2005, and Mr. Baquet rose to the top spot.

In late 2006, Mr. Johnson, the publisher, was fired along with Mr. Baquet for refusing to carry out more cuts. Mr. Baquet then rejoined The New York Times, which he had left in 2000 for the Los Angeles paper, as the Washington bureau chief and an assistant managing editor.

With Mr. Baquet gone, Mr. O’Shea, the managing editor of The Chicago Tribune, was sent to Los Angeles to run the newsroom.

Adding to the turmoil of the last few years has been the departure of two editors of The Los Angeles Times’s editorial page, Michael Kinsley and Andres Martinez, after short tenures.

It was not clear Sunday whether Mr. O’Shea’s successor would be chosen from within The Times, or when his departure took place.

Tribune, one of the nation’s largest media companies, also owns Newsday, The Baltimore Sun and other newspapers, as well as two dozen television stations, the Chicago Cubs baseball team and other properties.

But as newspapers endure tough times, Tribune’s papers have suffered even more than the industry as a whole. Through the first three quarters of last year, its profit was 53 percent below the same period a year earlier.

Newspapers generally have been cutting their newsroom staffs in recent years, and especially those in California, which have been hit hard by the sharp downturn in real estate and, in turn, real estate advertising.

AND FROM THE L.A TIMES:

The newspaper industry, like broadcast television, is being roiled by profound changes wrought by the Internet, which competes directly and with increasing effectiveness for the attention of consumers and the dollars of advertisers who want to reach those consumers.


Peter Lamborn Wilson on secessionism (Arthur, 2005)

first published in Arthur No. 16 (May 2005)

Freedom Now Maybe: The New Secessionism
By Peter Lamborn Wilson

Last November, right after the Election, I attended an odd event in Middlebury, Vermont—a two-day conference devoted to the question of whether Vermont should consider seceding from the USA and declaring itself the “Second Vermont Republic.”

The first Vermont Republic lasted from 1777 to 1791, during which time it recognized neither Britain nor the USA as sovereign. Thanks to Ethan Allen and the Green Mountain Rangers the state has an old and still-lively sense of itself as unique and independent-minded, if not downright cranky.

The keynote speeches delivered at Middlebury by SVR founder Prof. Thomas Naylor and activist/historian Kirkpatrick Sale made it clear that any Vermont independence movement would be radical, Green, Populist non-violent and typically “Vermont-socialist.” (The Bread & Puppet Theater is already interested.) SVR’s underlying philosophy is derived from the “Small Is Beautiful” school of Leopold Kohr (his The Breakdown of Nations is the bible), “Buddhist economist” E.F. Schumacher, the UK-based Fourth World Movement, and ultimately from the minarchism of Thoreau and the American tradition of “unterrified Jeffersonians,” extreme democrats and even anarchists.

All this may be considered odd enough. But what really struck me as strange was the mood of the conference. Everyone there was cheerful, optimistic and pugnacious. Everywhere else in America that weekend leftists, liberals and libertarians were plunged in gloom. But in Middlebury the triumph of Bushite Pre-Millenialist idiocy was taken as a sign that the US Empire is about to disintegrate.

The conference voted unanimously to support the aims of the Second Vermont Republic. Delegates stomped and cheered. One woman, whose son was in Iraq with the National Guard, proclaimed herself ready to die for this new cause if necessary. Suddenly it felt kind of like 1968 again. Were all these people crazy?

Four More Years.

You know what I’m talking about already but let me spell it out. Imagine: Four more years of Neo-Con Jihadist slope-browed pseudo-Zionist McImperialism; four more years of stomping on Iraq and Afghanistan and possibly Iran, Syria and North Korea; of deficit spending and debt both national and individual; of ludicrous Red/Blue culture war; of inflation and unemployment; erosion of civil liberties; no tree left behind; more tax breaks for the rich and the corporations; blah blah blah; and to top it off, “JEB IN ’08!”—and another Four More Years.

Some of my friends are moving to Canada where they can join grayhaired draft-dodgers of the Vietnam era and suffer the bitterness of exile along with the compensations of socialized health care and quasi-legal pot. No one dares to dream of staying on and overthrowing the Empire. Not even us grayhaired really believe in The Revolution anymore. But the piffle of tepid reformism (the “left wing” of Skull’n’Bones, so to speak) makes many of us reel with nausea and depression, or anyway terminal boredom. What’s to be done?

Continue reading

Viva la analog!

Vinyl Gets Its Groove Back

By Kristina Dell

Jan. 10, 2008 Time Magazine

From college dorm rooms to high school sleepovers, an all-but-extinct music medium has been showing up lately. And we don’t mean CDs. Vinyl records, especially the full-length LPs that helped define the golden era of rock in the 1960s and ’70s, are suddenly cool again. Some of the new fans are baby boomers nostalgic for their youth. But to the surprise and delight of music executives, increasing numbers of the iPod generation are also purchasing turntables (or dusting off Dad’s), buying long-playing vinyl records and giving them a spin.

Like the comeback of Puma sneakers or vintage T shirts, vinyl’s resurgence has benefited from its retro-rock aura. Many young listeners discovered LPs after they rifled through their parents’ collections looking for oldies and found that they liked the warmer sound quality of records, the more elaborate album covers and liner notes that come with them, and the experience of putting one on and sharing it with friends, as opposed to plugging in some earbuds and listening alone. “Bad sound on an iPod has had an impact on a lot of people going back to vinyl,” says David MacRunnel, a 15-year-old high school sophomore from Creve Coeur, Mo., who owns more than 1,000 records.

The music industry, hoping to find another revenue source that doesn’t easily lend itself to illegal downloads, has happily jumped on the bandwagon. Contemporary artists like the Killers and Ryan Adams have begun issuing their new releases on vinyl in addition to the CD and MP3 formats. As an extra lure, many labels are including coupons for free audio downloads with their vinyl albums so that Generation Y music fans can get the best of both worlds: high-quality sound at home and iPod portability for the road. Also, vinyl’s different shapes (hearts, triangles) and eye-catching designs (bright colors, sparkles) are created to appeal to a younger audience. While new records sell for about $14, used LPs go for as little as a penny–perfect for a teenager’s budget–or as much as $2,400 for a collectible, autographed copy of Beck’s Steve Threw Up.

Vinyl records are just a small scratch on the surface when it comes to total album sales–only about 0.2%, compared to 10% for digital downloads and 89.7% for CDs, according to Nielsen SoundScan–but these numbers may underrepresent the vinyl trend since they don’t always include sales at smaller indie shops where vinyl does best. Still, 990,000 vinyl albums were sold in 2007, up 15.4% from the 858,000 units bought in 2006. Mike Dreese, CEO of Newbury Comics, a New England chain of independent music retailers that sells LPs and CDs, says his vinyl sales were up 37% last year, and Patrick Amory, general manager of indie label Matador Records, whose artists include Cat Power and the New Pornographers, claims, “We can’t keep up with the demand.”

Big players are starting to take notice too. “It’s not a significant part of our business, but there is enough there for me to take someone and have half their time devoted to making vinyl a real business,” says John Esposito, president and CEO of WEA Corp., the U.S. distribution company of Warner Music Group, which posted a 30% increase in LP sales last year. In October, Amazon.com introduced a vinyl-only store and increased its selection to 150,000 titles across 20 genres. Its biggest sellers? Alternative rock, followed by classic rock albums. “I’m not saying vinyl will become a mainstream format, just like gourmet eating is not going to take over from McDonald’s,” says Michael Fremer, senior contributing editor at Stereophile. “But there is a growing group of people who are going back to a high-resolution format.”

Here are some of the reasons they’re doing it and why you might want to consider it:

Sound quality: LPs generally exhibit a warmer, more nuanced sound than CDs and digital downloads. MP3 files tend to produce tinnier notes, especially if compressed into a lower-resolution format that pares down the sonic information. “Most things sound better on vinyl, even with the crackles and pops and hisses,” says MacRunnel, the young Missouri record collector.

Album extras: Large album covers with imaginative graphics, pullout photos (some even have full-size posters tucked in the sleeve) and liner notes are a big draw for young fans. “Alternative rock used to have 16-page booklets and album sleeves, but with iTunes there isn’t anything collectible to show I own a piece of this artist,” says Dreese of Newbury Comics. In a nod to modern technology, albums known as picture discs come with an image of the band or artist printed on the vinyl. “People who are used to CDs see the artwork and the colored vinyl, and they think it’s really cool,” says Jordan Yates, 15, a Nashville-based vinyl enthusiast. Some LP releases even come with bonus tracks not on the CD version, giving customers added value.

Social experience: Crowding around a record player to listen to a new album with friends, discussing the foldout photos, even getting up to flip over a record makes vinyl a more socially interactive way to enjoy music. “As far as a communal experience, like with family and friends, it feels better to listen to vinyl,” says Jason Bini, 24, a recent graduate of Fordham University. “It’s definitely more social.”

Link courtesy Michael Simmons, who adds that you can’t roll a joint on a CD case


William Blake's legacy examined at Whitworth in Manchester, opening Jan 26


over design for magazine, Counterpoint, Cecil Collins

Blake’s Shadow: William Blake and his Artistic Legacy
26 January – 20 April 2008
The Whitworth
www.whitworth.manchester.ac.uk

This exhibition explores Blake’s continuing fascination for artists, filmmakers and musicians. It features around sixty watercolours, prints and paintings in addition to numerous illustrated books and a range of audio-visual material. Blake is a unique figure in British visual culture, attracting both academic and popular interest. In the years since his death in 1827, Blake has continued to influence the world of creativity and ideas. He has inspired people with such wide ranging interests as literature, painting, book design, politics, philosophy, mythology through to music and film making. Alongside works by Blake – prints, watercolours, engravings and book illustrations – the exhibition spans two centuries of his influence.

* His contemporaries in the late 18th and early 19th century are represented with works from John Flaxman, Edward Calvert, Samuel Palmer, J.H. Fuseli and Thomas Stothard
* Blake’s influence on artists in the Victorian period is explored through works by Ford Madox Brown, Walter Crane, Frederic Shields, John Everett Millais, Dante Gabriel Rossetti, Simeon Soloman and G.F. Watts.
* British artists working in the 20th and 21st century include Cecil Collins, Douglas Gordon, Paul Nash, Anish Kapoor, David Jones, Ceri Richards, Patrick Proctor, Austin Osman Spare and Keith Vaughan. This section of the exhibition features photographs and original works.
* From the 1960s onward, writers, musicians, film makers like Allen Ginsberg, Bob Dylan, Jim Morrison of The Doors and John Lennon have adopted Blake as a mystical seer and anti-establishment activitist. More latterly, as British musicians and activists like Billy Bragg and Julian Cope have grappled with notions of national identity, Blake has enjoyed something of a renaissance. Blake’s Shadow examines this more recent influence as evidenced in work by the filmmakers Jim Jarmusch and Gus Van Sant, and various musicians, notably Patti Smith and Jah Wobble.

Dr Colin Trodd, Lecturer in Art History at the University of Manchester, has curated this exhibition.

One day conference
Becoming Blake
22 February 2008
9.30 – 5.30

Blake, more than any other figure in British culture, is constantly recast and reformed in high and popular culture. This conference will identify the contexts in which such revisions happen, and it will explore the different critical, cultural and historical encounters with this visionary artist. Speakers include Paul Barlow, David Bindman, Christopher Bucklow, Keri Davies, Martin Myrone, Marcia Pointon, Jeremy Tambling, Colin Trodd, Jason Whittaker and David Worrall.

Tickets: £35 full price; £25 concession (including lunch)

For more information and to book please contact heather.birchall@manchester.ac.uk

The Whitworth Art Gallery is part of the University of Manchester, situated in England’s North West. It is home to some of the UK’s finest collections of art and design. These include modern and historic fine art, prints, textiles and a rare collection of wallpapers. The gallery also offers a busy programme of themed exhibitions and events, and has a popular cafe and gallery shop.

Admission Free
Opening Times
Monday to Saturday 10am-5pm,
Sunday 12-4pm
Oxford Road, Manchester M15 6ER


How the internet is destroying us.

Spinning Out Into the Pileup on the Information Superhighway
By JANET MASLIN
January 17, 2008 New York Times

AGAINST THE MACHINE
Being Human in the Age of the Electronic Mob
By Lee Siegel
182 pages. Spiegel & Grau. $22.95.

In “Against the Machine,” the swaggeringly abrasive cultural critic Lee Siegel pays a visit to Starbucks. He sits down. He looks around. And he finds himself surrounded by Internet zombies, laptop-addicted creatures who have so grievously lost their capacity for human interaction “that social space has been contracted into isolated points of wanting, all locked into separate phases of inwardness.” How long until they wake up and smell the coffee?

Mr. Siegel’s field trip illustrates several things, not least that Starbucks is today’s most hackneyed reportorial setting. His outing captures a vision of connectivity that is the precise opposite of what it appears to be. For him the semblance of a shared Starbucks experience masks endemic computer-generated isolation, a condition that has prompted psychic and ethical breakdowns that go well beyond the collapse of community.

Though Mr. Siegel is hardly the first observer to deem this a sinister side of Internet culture, he turns out to be an impressively tough, cogent and furious one. His diatribe would bring to mind the prescient haranguing style of Pauline Kael, even if Mr. Siegel, who does not treat his own reputation lightly, were not trumpeting the phrase “Pauline Kael of the Internet” himself.

In any case, Mr. Siegel has done something in which Ms. Kael once specialized: nailing an inchoate malaise that we already experience but cannot easily explain. He asks, in brief, why we are living so gullibly through what would have been the plot of a science-fiction movie 15 years ago. Why does the freedom promised by the Internet feel so regimented and constricting? Why do its forms of democracy have their totalitarian side? What happens to popular culture when its sole emphasis is on popularity? How have we gone “from ‘I love that thing he does!’ to ‘Look at all those page views!’ in just a few years”? Mr. Siegel links all these questions to a fundamental assumption about the Internet, one that has been widely posited by other analysts: that it is a liberating entity, one that generates endless opportunities for creative endeavor.

He is quick to insist that most of those opportunities boil down to business matters, and that “the Internet’s vision of ‘consumers’ as ‘producers’ has turned inner life into an advanced type of commodity.” At the risk of harping heavily on this central point, Mr. Siegel provides example after example of how surreptitiously this process of co-option works.

He shows, for instance, how the fan of a television show can be led to a Web site where the show can be approached in a supposedly interactive fashion. “ ‘Which character are you most like?’ ” he asks, citing a question posed about “Grey’s Anatomy.” And parenthetically: “(You’ll also have to read an ad for a vaccine against genital warts. Ask your doctor if it’s right for you.)”

The price of such diversions is, in Mr. Siegel’s succinct appraisal, devastating. It turns our passive, private, spontaneous appreciation of popular culture into something active, public and market-driven. It leads us to confuse self-expression (which is, of course, all about us) with art (which more generously “speaks to us even though it doesn’t know we’re there”). It has created what Mr. Siegel calls the first true mass culture, though he cites critics who in 1957 worried about how culture could be degraded by the masses. Culture for the masses, he says, was a worry of the past. Culture by the masses is what is being born in the present and will shape the future.

Peppering his argument with potshots at writers (among them Mark Dery and Malcolm Gladwell) who view any of these developments enthusiastically, Mr. Siegel both defines and decries an array of current misconceptions. We are being persuaded that information and knowledge are interchangeable, he claims, when they are not; we would have citizen heart surgeons if information were all that mattered. And mainstream news outlets, which Mr. Siegel is otherwise delighted to assail (his love-hate relationship with The New York Times is particularly intense), suddenly look worthwhile to him by virtue of their real, earned authority. Better the old press than the new tyranny of bloggers. Their self-interest, he says, makes them more mainstream than any standard news source could possibly be.

The vindictiveness and disproportionate influence of the blogosphere is a particularly sore subject. Who is it that “rewrote history, made anonymous accusations, hired and elevated hacks and phonies, ruined reputations at will, and airbrushed suddenly unwanted associates out of documents and photographs”? Mr. Siegel’s immediate answer is Stalin. But he alleges that the new power players of the blogosphere have appropriated similar powers.

Mr. Siegel himself became a great big blog-attack casualty when, in what he wishfully calls “my rollicking misadventure in the online world,” he was caught pseudonymously praising himself on the Web site of The New Republic, where he had been a particularly savage and reckless blogger. One of the improbable virtues of “Against the Machine” is that it presents a rigorously sane, fair and illuminating incarnation of its more often hotheaded author.

But Mr. Siegel is still Mr. Siegel, which is to say that he isn’t shy. So the reader can learn more about him than the reader might want to know. His example of how the Web finds the banal in the formerly forbidden? Masochism.com. His avatar in the spooky online game Second Life? Delbert, a guy in a red fedora. His example of an eBay experience? Sit back with him and shop for a watch, or graze at match.com. “I take a sip of coffee and consider,” he writes. “Various options are before me.”

At moments like this “Against the Machine” is dangerously close to revisiting that lazy, figurative Starbucks. But far more often it brings dead-on accuracy to depicting the quietly insinuating ways in which the Internet can blow your mind. And it announces exactly what’s wrong with this picture.