Now here’s a marriage made in heaven (or hell, depending on your point of view): Pere Ubu plus the Brothers Quay presenting Alfred Jarry’s 1896 classic of proto-surrealist theatre, Ubu Roi. I hope someone’s filming this given that there’s no guarantee I’ll be able to get down there to see it. Pere Ubu’s David Thomas has this to say about collaborations:
Well, it’s pretty simple. If someone wants to work with me then they have the right stuff. Working with me is guaranteed career endangerment, not to be undertaken lightly. I had no idea of who the Quays were. Everybody else seems to know but I don’t watch films, tv or video unless a space ship or baseball is involved. The Quays don’t involve themselves with either. So how am I supposed to know? I don’t make the Rules. I obey. We met. We talked. We immediately understood each other and the project and how it all would fit together. I don’t trust visual information of any kind. The Quays were clearly men who were capable of taming the Eye Beast. I told them I’d be delighted to stay out of their way and let them get on with doing what they feel most. They sent me pictures. They were, as I knew they must be, perfect. No space ships. Or baseball. But perfect nevertheless. Only people who don’t understand need to talk. We have no need of talking. Talking is for the weak, the uncertain… and girls. Ha-ha! (I mean it.) We are men who stand in the moment and can deliver the goods. So down to the process: Only work with people who are Masters, and who Understand. If you choose to work with such people then don’t get in their way unless they appear to be set on a course that will break The Rules. Don’t make up the Rules. Don’t work with people who feel the need to talk to you. Don’t work with children or animals. Don’t run into the furniture.
Details from the press release follow and I feel the need to make a point of order: the famous first word of the play, “Merdre!”, doesn’t mean “shitter” as mentioned below. Rather, it’s an untranslatable combination of the French words for “shit” and “murder” which Cyril Connolly rendered unsatisfactorily as “Pschitt!” in his 1968 translation with Simon Watson Taylor.
Pere Ubu and the Brothers Quay present the WORLD PREMIERE of Bring Me The Head Of Ubu Roi
In two specially created performances for Southbank Centre’s ETHER 08 festival, expressionist avant-garage band Pere Ubu presents the world premiere of Bring Me The Head of Ubu Roi, an adaptation of Ubu Roi (King Ubu), Alfred Jarry’s landmark 1896 play that inspired the band’s name and is widely seen as the precursor to the Absurdist, Dada and Surrealist art movements.
At the heart of Jarry’s original production was the use of various performance media, and Pere Ubu’s show reflects this with a unique visual staging by the enigmatic Brothers Quay, featuring intriguing stop-motion animation, projections and imaginative stage designs. Singer David Thomas will feature as Père Ubu, partnering Sarah-Jane Morris (ex-Communards) in the role of Mère Ubu, and the production includes an original music score by the band Pere Ubu and 10 new songs. Gagarin, aka London-based former Ludus, Nico and John Cale drummer Graham Dowdall, will contribute minimal electronic soundscapes.
The Brothers Quay.
With this part music, part spoken word, part animated production on the stage of the Queen Elizabeth Hall, David Thomas of Pere Ubu realises a dream he has had since being turned on to Alfred Jarry as a 16-year-old high school student in Cleveland, Ohio.
David Thomas said: “Jarry’s ideas resonated with feelings I had about the use of abstract, concrete and synthesised sound in the narrative architecture of rock music, all tools to engage the imagination of the listener when detailing the picture told by the music and lyrics.”
David Thomas.
Ubu Roi is a play for the mind and imagination. It is a drama of ideas and grotesqueries, and a fusion of several disparate and incongruous elements. It shocked early audiences with its blend of grotesque absurdity, wild humour and coarse language. At the premiere in 1896, the very first word of Ubu Roi (‘merdre’, translated as ‘shitter’) provoked a riot amongst the audience and fist fights broke out in the orchestra. Alfred Jarry’s plays in general were widely and wildly hated for their vulgarity, brutality, low comedy and complete lack of literary finish, and his work revealed a lack of respect for royalty, religion and society that prompted some to see his output as the theatrical equivalent of an anarchist bomb attack and an act of political subversion.
Alfred Jarry with his weapons and bicycles, somewhere in the 1890s.
Prior to the Friday performance, there’s a free event in the Front Room at Queen Elizabeth Hall, entitled ‘Pataphysics in Sound. This specially curated musical journey through the history of ’pataphysics, the science of imaginary solutions, celebrates the genius of Alfred Jarry, creator of Ubu Roi and literary madman, time-travelling, absinthe-drinking, pistol-toting, and cycling maniac.
Bring Me The Head of Ubu Roi is presented at the Southbank Centre, Queen Elizabeth Hall, Thursday 24 and Friday 25 April 2008.
Mark & Molly go to Austin and wait in line on your behalf…
Even the Thai Restaurants Are Featuring a Showcase: Day 4, featuring chipmunk-voiced twins doing Carter Family covers, Lightspeed Champion, Health, Wizardz, Psychic Ills, No Age, White Rainbow, The Sian Alice Group and The Carbonas…
At 3am, the bridge bounces beneath us: Day 3, featuring Nero’s Day at Disneyland, Hard Place, Cut Copy, unmentionable band, Cool Kids, No Age, Crystal Antlers…
A Taste of Sky: Day 2, featuring El Chilito’s, J Mascis, Silje Nes, These New Puritans, Bowerbirds, Mika Miko, Howlin Rain, kid bikers at the 9th street jumps, Half Japanese, The Mae Shi…
Live From the Mellow Capital of the Universe: Chuy’s Mexican restaurant, Levi’s protesters, Jeremy Jay, The Kills, two dudes on top of some kind of booth, Headdress and a concert curated by Steve Reich…
NEW YORK (AP) — The Internet has profoundly changed journalism, but not necessarily in ways that were predicted even a few years ago, a study on the industry released Sunday found.
It was believed at one point that the Net would democratize the media, offering many new voices, stories and perspectives. Yet the news agenda actually seems to be narrowing, with many Web sites primarily packaging news that is produced elsewhere, according to the Project for Excellence in Journalism’s annual State of the News Media report.
Two stories — the war in Iraq and the 2008 presidential election campaign — represented more than a quarter of the stories in newspapers, on television and online last year, the project found.
Take away Iraq, Iran and Pakistan, and news from all of the other countries in the world combined filled up less than 6 percent of the American news hole, the project said.
The news side of the business is dynamic, but the growing ability of news consumers to find what they want without being distracted by advertising is what’s making the industry go through some tough times.
“Although the audience for traditional news is maintaining itself, the staff for any of these news organizations tend to be shrinking,” said Tom Rosenstiel, the project’s director.
…
In another unexpected finding, citizen-created Web sites and blogs are actually far less welcoming to outside commentary than the so-called mainstream media, the report said.
THIS IS IT!
Eddie Ruscha
March 15th – April 26th, 2008
Opening Reception: Saturday, March 15th, 7 – 9 PM
Special Musical Meltdown: Friday, April 25th, 8:30 PM
HIGH ENERGY CONSTRUCTS
990 N. Hill Street, Suite 180
Los Angeles, CA 90012
“HIGH ENERGY CONSTRUCTS is pleased to present THIS IS IT! an exhibition of new works by Eddie Ruscha. In his debut solo-exhibition Ruscha follows a zeitgeistian impulse to address the age-old notion of the apocalypse, offering paintings on canvas, works on paper, and a sound installation. The exhibition features a large-scale apocalyptic landscape painting of bleakness and grandeur, as well as a variety of small prismatic portraits of skulls that together form a large pyramid. The work teeters on the verge of installation, as rainbow colors of yarn shoot out of an all seeing eye. The works on paper illustrate a 1960s Roll Royce as the symbolically decadent, yet grim chariot of Armageddon rendered with romance and innuendo. The sculptural quality of sound, as a final, and conceptual component to the exhibition bridges the artist’s engagements with different disciplines, as an accomplished visual artist, musician and DJ. The presence of sound functions as a physical and sensuous enabler for Ruscha’s melding cosmic environment. Drawing inspiration from doomsday cults, science fiction, psychedelic counterculture and stoner fantasies, Ruscha’s hallucinatory and idiosyncratic layering and panoptical colors of enthusiasm hint at a deep resonance to embrace and transcend western civilization’s concerns and crises regarding the psychology of today’s ever-growing endtime industry. Echoed in the expressive nature of his work, Ruscha projects a magnificent transformation (positive, negative, and ambiguous) onto the mythical and intuitive end of the world.
About the artist:
“Eddie Ruscha is a Los Angeles-based artist and musician. He has exhibited his work at China Art Objects, Los Angeles, CA, Galerie Loevenbruck, Paris, The London Institute Gallery, London, New Image Art, Los Angeles, CA, and most recently in ONE FOOT HIGH AND RISING, a group show curated by Pentti Monkkonen, at The Balmoral, Venice, CA. Ruscha has performed musically in many Los Angeles bands such as Medicine, Maids Of Gravity, Future Pigeon, Sneeze Mist and Dada Munchamonkey.
“HIGH ENERGY CONSTRUCTS is an exhibition and performance venue in Los Angeles’ Chinatown (est. February 2006). The name HIGH ENERGY CONSTRUCTS is borrowed from the poet Charles Olson’s famed essay/manifesto ‘Projective Verse’ wherein Olson demands that the poem should be at all points a HIGH ENERGY CONSTRUCT and an energy discharge. This choice marks an attempt to apply Olson’s HIGH ENERGY demand to any given space, form, medium, or being. For more information on Charles Olson visit: http://wings.buffalo.edu/epc/authors/olson
For more information on this exhibition please call 323.227.7920 or email: info@highenergyconstructs.com
Gallery hours: Thursday, Friday, and Saturday, 11 AM – 6 PM highenergyconstructs.com
Friday, March 14th @ 7:30pm
SERIES: LOCAL FLAVOR:
LES BLANK’S FOOD FILMS
Les Blank Program Two:
Werner Herzog Eats His Shoe
The most unlikely inspirational film ever made documented the results of a bet between iconic German filmmaker Werner Herzog (subject of Blank’s classic 1982 documentary Burden of Dreams) and his student, Errol Morris (he’s since fulfilled Herzog’s prophecy tenfold, becoming the quirky visionary documentarian responsible for Fast, Cheap & Out of Control and The Fog of War). The Cinefamily would like to confirm that, yes, the time has come for you, finally, to watch Werner Herzog eat an entire shoe, because life is short, and it is marvelous, and a fancy chef cooked the shoe in duck fat first.
Directed by Les Blank, 1980, 20 min
A Well-Spent Life
Blank’s perfectly sweet, laconic portrait of genius bluesman Mance Lipscomb is one of the director’s most satisfying morsels: his lens alternates, with stunning care, between slices of the guitarist’s unmatched musical skill and pastoral philosophies, and his marvelously funny, gentle home life. Come see why there’s no question as to what made this Kurt Vonnegut’s all-time favorite film. Directed by Les Blank, 1972, 44 min
Garlic Is As Good As Ten Mothers
Worshipers of the stinking rose couldn’t dream of a more sacred celluloid altar to the olfactory and gustatory beauty (or maybe just… undeniable power) of everyone’s favorite vampire-repellant. Those who scour the internet for hot food-on-food action will revel at Blank’s joyous homage to the colorful culture that surrounds culinary rapture.
Directed by Les Blank, 1980, 51 min
Ghosts are unwieldy subjects to contend with. It’s as if their ephemeral nature predisposes them to be barely tangible topics of research. The vast majority of evidence used to support the existence of ghosts is subjective: first-hand reports and eyewitness accounts. Despite the fact that forensic science, cultural geography, physics, and parapsychology all suggest that any given area is inscribed with the residue of that area’s history, the hard data on hauntings remains inconclusive.
To make matters hazier, the definitions of ghosts often swirl together with religious beliefs and philosophical assumptions. For example, if we define ghosts as being the spirits of the departed, we are stating clearly that we believe in life-after-death and some notion that separates body and spirit. Whether this notion is Cartesian dualism, Egyptian ka, Polynesian mana, or the yin-world spirits of Taoism, the assertion is that the individual is not indivisible. At the very least we are forced to accept the idea that the self is multiplicitous.
This shouldn’t be such a leap. At any given moment a person can be characterized by many different activities that s/he engages in: mechanic, musician, anarchist, lover, gardener, cyclist, etc. A person doesn’t think of him/herself as a mechanic when s/he’s in the garden, although s/he also doesn’t stop being a mechanic. We are many things to many people in many spheres of activity – simultaneously. But still we remain ourselves. On the most basic level, we live multiplicitous lives every day.
And when we go to sleep at night, it doesn’t end there. Our dreams continue to embroil us in action-adventures that would surely leave us breathless and exhausted if it weren’t for the simple fact that our bodies barely participate in all of the fun. If there is any sort of universal logic that can be applied as a subjective proof for the insubstantiation of the self, it is the simple fact that we all dream, whether we remember it in the morning or not.
To be clear, dreams don’t prove that ghosts are real. Nor does it prove that ghosts are the spirits of dead people. Rather, the travels we undertake when our eyes are closed simply suggest that a meaningful disembodied existence can occur. Even if we dismiss dreams (and ghosts) as immaterial and inconsequential, anyone who has ever experienced a nightmare won’t deny the fact that these visions can cause acute physical and psychological sensations in our waking lives.
But what are ghosts exactly? The incorporeal dead hanging out amongst the living? Reflected light? Psychosis? Atmospheric anomalies? Holographic messages from the future? Alien lifeforms? Osama’s latest WMD (Weapon of Mental Distortion)? Whatever they are, ghosts, like magic(k), pop up, in one form or another, in nearly every culture on the planet, and have been described in legends, myths, and stories throughout history. A popular Chinese attitude towards ghosts is voiced in the age-old expression, “If you believe it, there will be, but if you don’t, there will not.” According to legend, the saying was penned by a scholar named Zhuxi (Song Dynasty, 960 – 1279). Now Zhuxi was such a strict non-believer that he decided to write an essay about the non-existence of ghosts. But, lo and behold!—a ghost showed up to convince him otherwise. The ghost made such a lucid argument, that Zhuxi was forced to reconsider his thesis. In fact, it’s actually the ghost that is credited with authoring the aforementioned expression, and Zhuxi merely wrote it down.
Whether we believe in ghosts as actual paranormal phenomena, or as manifestations of mass cultural imagination, we can agree on some fundamental characteristics of ghosts. For starters, it’s significant to note that many such manifestations consistently take the form of people, or exhibit seemingly conscious behaviors. This could be similar to looking skyward and seeing faces in the clouds; however, there’s one major exception. When we let our minds drift in the cumulo-nimbus we also tend to see things like bears in bathtubs, and inverted Lay-Z-Boys. And we don’t hear ghastly tales of glowing gaseous forms resembling anything quite so banal, or cute and cartoony. Instead, we are most often presented with accounts of haunting encounters that evoke horror, sorrow, fear, anger, remorse, passion, and purpose. Ghosts emerge from the shadows; from dark corners; from forgotten and abandoned recesses. Regardless of whether or not these phantoms are psychological projections or external paranormal phenomena, it’s clear that our collective response to these apparitions is apprehension, angst, and anxiety.
Generally speaking, there are two dominant types of ghost stories: lost love, and grave injustices. The “lost love” category encompasses all of those apparitions who wait endlessly for lovers to return, or visit their living loved ones for comfort, counsel, and last condolences. In the second category, the vast majority of ghost stories hover around a central theme of grave injustices yet to be rectified. Murder. Torture. Betrayal. The plight of this sort of phantom is one of paradox; it seeks to rest in peace, yet refuses to quit the struggle until things have been set right. While the crimes of the past still linger at the site of a haunting, the ghost’s job is to make sure we, the living, don’t ignore it. Their refusal to let injustices be forgotten manifests in a form of spiritual civil disobedience. From silent vigils to shrieks and moans to outright property destruction, these ghosts are paranormal protestors bearing witness to a world gone woefully awry. In their quest for peace, the phantoms that haunt us defy the laws of the material world in acts of otherworldly anarchism. Offering spiritual resistance to the complicit affairs of everyday life, these insurgent souls have little regard for the rules and boundaries that restrict the world of the living.
They defy even gravity itself. Moving through gates and walls, no barrier restricts their attempts to resolve the inequities that torment them—and consequently us. After all, it is the apathy of the living that drives them to disturb the peace, because they cannot rest until the conflict is, once-and-for-all, addressed and resolved. There is no moving on. Not until unsavory events are properly put to rest.
It’s this kind of dissenting spirit that needs to be channeled today. Even Senator Specter (R-PA), whose position on most policies is rather ghoulish, could not sit idly by when faced with the recent legislation surrounding Guantanamo Bay detainees. Like all hauntings, the degree of uncanniness is quite remarkable. It’s only too fitting that the Chairman of the Senate Judiciary Committee be named Specter. And perhaps even more appropriate that he should take issue with the United States’ recent dissolution of habeas corpus (meaning quite literally “(You should) have the body”). Dating back as far as 1305, and included in Article 1 of the U.S. Constitution, habeas corpus is one of the oldest and most celebrated guarantees of personal liberty. It grants individuals the right to question their detainment and challenge the government on the legality of their imprisonment. By killing habeas corpus, the clock on civil liberties is set back more than seven centuries to a time when judicial courts were simply a king and his dungeons. No wonder Mr. Specter is voicing his disapproval.
The haunting of society by the ghosts of our collective past resonates within a present that continues to manifest grave injustices. Generation after generation, the abuse of power materializes in a reoccurring nightmare, claiming countless victims—collateral damage in a battle to maintain hegemony. Doomed to repeat the tragedies of the ages, these lost souls insinuate their desires and anxieties into the world of the living. Each step of the way, these energies inform our thoughts, our dreams, our actions—indeed, every aspect of our existence. Ghosts are an unsettling reminder that the crimes of the past have not yet been resolved. Refusing to quietly fade from consciousness, they demand that their howls be heeded. The residues of injustice permeate the physical, psychological, and parapsychological landscape, inscribing the present with desperate warnings and demands for reconciliation.
Perhaps it’s time for the living to start paying attention to the stirring in the shadows. These aberrations in space, time, and freedom remain inscribed in mind, spirit, and social body, awaiting their release through the discovery and recovery of our own self-determining forces. Can the righteous spirits of the past truly join forces with the living to achieve peace and justice? If you believe it, there will be, but if you don’t, there will not.
EXERCISES
Through methods of divination, channeling, investigation, experimentation, and active engagement, we can invoke those that seem most experienced in dealing with past inequities—ghosts. Here are a few experiments in magic(k) to get you started. As always, please let us know how it goes by emailing to: goodluck at tacticalmagic dot org
1. Summoning ancestral spirits for guidance and inspiration is an age-old practice re-popularized in the ’70s through Milton Bradley’s mass production of the Ouija board. But you don’t need to jump on eBay to get a piece of the action. Make your own walkie-talkie to the spirit world by covering any smooth surface with the letters of the alphabet, numbers 0-10, and the words, “yes,” “no,” “unclear” and “goodbye.” Use another object that glides easily over the surface as your planchette, or pointer. A shot glass, serving spoon, or cell phone will work okay. A generic board will likely attract a general audience. For the best results, craft your set-up with a righteous spirit in mind using items and symbols that the spirit might find appealing. If, for example, you wanted the counsel of Nathan Hale, draw the board on a copy of the Patriot Act. For Harriet Tubman, try replacing the planchette with a broken handcuff. Grab a few friends, dim the lights, and place your fingertips lightly on the planchette. Then, invite the spirits, and begin your supernatural conspiring.
2. The problem with ghosts is not that they won’t shut up, but rather that it took death to get them to speak up in the first place. Is it fear of death that keeps us from voicing our dissatisfaction with the world of the living? Or fear of life? Fortunately, there’s no need to wait for that last breath to start haunting places. Form your own ghost mob and venture out to haunt sites of known social injustices. Banks, police stations, recruitment centers, and chain stores are but a few potential targets. From large-scale occupations by friends in Halloween gore to quiet insertions of tape recorded whispers and groans, a ghost mob can embody suppressed fears and desires whilst banishing the specters of social control.
3. Encounters with ghosts are said to increase during times of social crises and the post-trauma periods immediately following. Most notably, research suggests that more people see ghosts (or at least report them) in wartime and during post-war transitions. If this assessment is accurate, we should expect a barrage of ghost sightings related to Katrina, Afghanistan and Iraq. We are sincerely interested in studying this trend. If you have had paranormal experiences that you feel are related to social crises, please let us know by emailing us at: socialhauntings at tacticalmagic dot org
ABOUT THE AUTHOR: The Center for Tactical Magic is a moderate international think tank dedicated to the research, development and deployment of all types of magic in the service of positive social transformation. To find out more, check out tacticalmagic.org
A dolphin has come to the rescue of two whales which had become stranded on a beach in New Zealand.
Conservation officer Malcolm Smith told the BBC that he and a group of other people had tried in vain for an hour and a half to get the whales to sea.
The pygmy sperm whales had repeatedly beached, and both they and the humans were tired and set to give up, he said.
But then the dolphin appeared, communicated with the whales, and led them to safety.
The bottlenose dolphin, called Moko by local residents, is well known for playing with swimmers off Mahia beach on the east coast of the North Island.
Mr Smith said that just when his team was flagging, the dolphin showed up and made straight for them.
“I don’t speak whale and I don’t speak dolphin,” Mr Smith told the BBC, “but there was obviously something that went on because the two whales changed their attitude from being quite distressed to following the dolphin quite willingly and directly along the beach and straight out to sea.”
He added: “The dolphin did what we had failed to do. It was all over in a matter of minutes.”
Mr Smith said he felt fortunate to have witnessed the extraordinary event, and was delighted for the whales, as in the past he has had to put down animals which have become beached.
He said that the whales have not been seen since, but that the dolphin had returned to its usual practice of playing with swimmers in the bay.
“I shouldn’t do this I know, we are meant to remain scientific,” Mr Smith said, “but I actually went into the water with the dolphin and gave it a pat afterwards because she really did save the day.”
Arthur Magazine 
