Arthur Radio #11 w/ Live in-studio by Love Like Deloreans

(This week’s collage — double-click for fullscreen + scroll)

A scene-by-scene recap of this week’s episode by DJ Visitation Rites:

ACT 1
Scene 1, Off Air
In which DJs Ivy Meadows and Visitation Rites arrive at the Newtown Radio studio ready to set up but are hypnotized by a 25-minute bongo-laden siren dirge — Dreamcolour’s “Spiritual Celebration” — at the tail end of Sunday Brunch with Chocolate Bobka. Unbeknownst to them, the song spills fifteen minutes into the beginning of their set.

Scene 2, Aside
Meanwhile, Peter Pearson, Derek Muro, and Lorna Krier of Brooklyn’s Love Like Deloreans steal away from their home base — a renovated closet space in Bushwick containing some 20 synthesizers — load half of them into a Volvo station wagon, and appear at the station door, successfully breaking the spell that has been cast over Ivy Meadows and Visitation Rites.

ACT 2
Scene 1, On Air
Still haunted by the specter of the siren from Act 1, Ivy Meadows and Visitation Rites attempt to reproduce their experience by layering ambient musics from lands as far and wide as ‘70s Germany, early 21st Century Northampton, and present-day Canada into a single organic continuum.

Scene 2, Aside
In which Love Like Deloreans set up all seven of the synthesizers they brought in the drowsy blink of a Sunday afternoon eye, causing Ivy Meadows and Visitation Rites to suspect that that they too possess supernatural powers. Love Like Deloreans do their best to assuage their fears, suggesting that they are simply “putting the punk back in punctuality.” Exeunt Chocolate Bobka.

ACT 3
Scene 1, On Air
Love Like Deloreans perform the first half of their in-studio. Dancing, Ivy Meadows and Visitation Rites attempt to document the event through Blackberry photos, Tweets, and a FlipCam.

Scene 2, On Air
Love Like Deloreans pause to participate in and informal Q&A with Visitation Rites, touching upon their origins as a group, their cohabitation of the classical world and Brooklyn DIY, their roots in New York minimalism and ‘70s Kosmische, and why the best way to listen to music is while traveling cross-country.

Scene 3, On Air,
Love Like Deloreans perform the second half of their in-studio. Dancing resumes. Ivy Meadows films an excerpt of their set through the anamorphic lens of an oddly shaped water bottle, the results of which can be seen below.

Curtain

Stream: [audio:http://www.arthurmag.com/magpie/wp-content/uploads/2010/03/Arthur-Radio-Transmission-11-with-Love-Like-Deloreans-3-28-2010.mp3%5D
Download: Arthur Radio Transmission #11 with Love Like Deloreans 3-28-2010

This week’s playlist…
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"In the center of the horror, 
of the civilization, there is the happiness to be alive." —Jodorowsky (1999)

alejandro_jodorowsky

“YOUR BRAIN IS A CRAZY GUY”
Visionary Poly-Artist ALEXANDRO JODOROWSKY talks with Jay Babcock about 
psychomagic, shamanism, video games and Marilyn Manson—as well as his 
spirit-bending films and comics.

originally published in Mean Magazine #6 (Dec ’99-Jan ’00)

A man holds all the universe within him; and art is his view of it. But in 
the work of some artists spiral  vast galaxies of meaning and imagination 
that dwarf by many magnitudes the plebian earthbound work of others. 
Seventy-year-old Alexandro Jodorowsky—post-Surrealist filmmaker, author, 
puppeteer, Tarot expert, post-Jungian psychological theorist, playwright, 
novelist—is one such artist.

Screen Jodorowsky’s El Topo or The Holy Mountain, read The Incal or Metabarons comics, or listen to one of his interviews or lectures, and you 
encounter a one-man spiritual multiculture at play: the anthropological 
erudition and enthusiasm of Joseph Campbell roughhousing with an outrageous 
artistic sensibility that begins at Bunuel, Beckett and Breton and ends in 
some psychedelic sci-fi super-space: the kind of man who can screenwrite 
”He lifts up the robe and draws a pistol” and then comment Talmud-style in 
the margins, “I don’t know if he draws it from a gunbelt or from his 
unconscious.”

Unfortunately, for all but the most clued-in and hooked up in the 
English-sqawking world, most of Jodorowsky’s artistic and philosophical 
output of the last 30 years has been tantalizingly unavailable: films have 
gone unissued on video, comics and other written work have gone 
untranslated or dropped out of print. But, finally, at the turn of the 
century, the situation is changing.

Jodorowsky’s “lost” 1967 film Fando & Lis has been reissued on DVD by San 
Francisco-based Fantoma Films (who have generously included a director’s 
commentary track by Jodorowsky and the excellent, full-length ’95 French 
documentary La Constellation Jodorowsky), The Holy Mountain has been released for the first time (legally) on video, and, perhaps most 
significantly, the U.S. branch of Humanoides Associes has begun an 
ambitious program of printing English-language editions of Jodorowsky’s 
prodigious graphic novel output.
So the time seemed right to give the endlessly aphoristic, giddily 
profound Mr. Jodorowsky the kind of forum in American publications he 
enjoyed in the early ’70s when El Topo and The Holy Mountain were consecutive 
midnight movie successes and the Chilean-born director was regarded by many 
surviving counter-culture types (John Lennon, Peter Fonda and Dennis Hopper 
among them) and journalists as The Guy Who Just May Have the Answer.

We 
rang Alexandro in Paris at midnight recently to find out what he’s up to, 
what he’s thinking and get him to reflect a bit on his long and storied 
career, even if he once said, “As soon as I define myself, I am dead.”

That said, let us attempt a synopsis for the new initiates.

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Starting April 3, L.A.: PFFR (Xavier: Renegade Angel, Wonder Showzen) Presents "Legacy IIX" at Synchronicity Space

PFFR ART019

> From the mushheads who have broughten you such tele/videvisual
> creambominations as Xavier: Renegade Angel ([adult swim]), Wonder
> Showzen (MTV), Final Flesh (Drag City) unt Hands of God (God); the
> soundmares of United We Doth (Birdman Records); the spastic dancing
> failures of various art attempts and one-offs bedazzling the nations
> glorious hole, comes the ultimate attempt at re-creating the
> maullification of our “society”. PFFR presents Legacy IIX.
>
> Godard got through the Louvre in less than 60 seconds. We took it
> upon, nay, up on ourselves to run through every mall in ‘merica in
> under a minute. The intake was a full frontal assault on our
> collective mind’s eye, that visually ralphed on the forgotten pages
> where it hath been discovered by our scientist, nay, our fact
> fuckers that the dinosaurs do in fact exist. So do we as well and
> here is the astroidal proof (pre-collision and post-dustings) for
> your consideration. We’ve swallowed ourselves whole and hope to
> pass any savings unto your naked chests for this one. This, Legacy
> IIX.
>
> So, please let us take over, nay, take under the world’s highest
> hopes/arts to bemuse and extricate the yuckity yucks that are most
> needed in a time like this. If we can make you laugh, then shame on
> us. But if we can make you cry, in fear, then let’s hang out more
> often….
>
> Love,
>
> xPoFxFoRx
>
> An opening reception for “Legacy IIX” will take place at
> Synchronicity Space on April 3rd from 7pm to 11pm. Synchronicity is
> located at 4306 Melrose Ave., Los Angeles, CA, 90029. Any questions
> please call 323-264-8960 or email info@syncspacela.com.
> syncspacela.com

FOR MORE INFO, READ THE GREATEST INTERVIEW OF ALL TIME NOT PUBLISHED IN ARTHUR MAGAZINE:
Vernon Chatman and John Lee of Xavier: Renegade Angel

A poem from Dan Raphael

2007_12_09_Dan_Raphael_D70-23890

cloquet bouquet

by dan raphael

“& yet downtown duluth minnesota had less snow this year than downtown houston texas.” -patrick mckinnon

stolen

swollen

cut off at the equator,

1% of 1% mathematically mistranslated and apportioned,

focusing the light to burn-blossom complexity from so much accumulated in a large confined space,

i roll out of bed and fall into a swimming pool with live fish

and a multi-salt stench without filters or discipline,

too many friends dropping by and zizzing through, iridescent puddles as calling cards,

how quick the wigs unfurl when spring rains chopped so fine you want to paint with them,

making a plaster glove hungry for more fingers, stick to the veins, avoid the tendon trap,

like we now make traffic signs from wood chips so meth heads wont sell them,

what years of flame retardant smoke will do to you,

textured disks shooting out from under my finger nails,

gravity disks pushing away everything but music.

9 in the afternoon, ½ way tween work & retribution,

my pants beginning to molt means the weekend

neath an unchanging sky we have 24 different words for gray,

we have punctuation to indicate the words are cynical or sung.

walking exposes you to the spectrum of hunger—from insect to budtip

to mammalian leg warmers whimpering with 98 degrees of satisfaction.

micro glaciers inside our brains measuring our life spans—

water clock, water boarding, vintage water w/ recommended serving temperature,

like dancing naked in summer rain then remembering im in beijing,

more towels than i can afford, $5 per flush,

if only we could synthesize an intoxicant from plastic, not just hallucinatory but skin tightening,

jumping into my mouth before i can say no

if it doesn’t storm in the next two days my pension fund goes bust.

tho im on the job more years than ive been alive

the forecasts warm and sunny, light traffic and free food

Music for the worm moon: "Raagini Robot" by Ken Camden

kencamden

Stream: [audio:http://www.arthurmag.com/magpie/wp-content/uploads/2010/03/02-Raagini-Robot.mp3%5D

Download: “Raagini Robot” — Ken Camden (mp3)

Slow circuit burnage from guitarist Ken Camden’s rather excellent debut Lethargy and Repercussion, out now on LP and digital via Kranky of Chicago. More info and ordering here.

Re “Worm Moon”: According to folklore, tonight’s full Moon has a special name—the Worm Moon. It signals the coming of northern spring, a thawing of the soil, and the first stirrings of earthworms in long-dormant gardens. Step outside tonight and behold the wakening landscape. “Worm moonlight” is prettier than it sounds. (spaceweather.com)

SYNCO

from : http://spectregroup.wordpress.com/2010/03/26/synco/

http://syncho.com/index.html
http://cybersyn.cl/ingles/home.html
http://guardian.co.uk/technology/2003/sep/08/sciencenews.chile
“During the early 70s, a rather remarkable experiment took place. Chile was in revolutionary ferment. In the capital Santiago, the beleaguered but radical marxist government of Salvador Allende, hungry for innovations of all kinds, was employing Stafford Beer to conduct a technological experiment known as Project Cybersyn, and nothing like it had been tried before, or has been tried since. Stafford Beer attempted, in his words, to “implant” an electronic “nervous system” in Chilean society. Voters, workplaces and the government were to be linked together by a new, interactive national communications network, which would transform their relationship into something profoundly more equal and responsive than before – a sort of socialist internet, decades ahead of its time.

As in many areas, the Allende government wanted to do things differently from traditional marxist regimes. “I was very much against the Soviet model of centralisation,” says Raul Espejo. Until then, obtaining and processing such valuable information – even in richer, more stable countries – had taken governments at least six months. But Project Cybersyn found ways round the technical obstacles. In a forgotten warehouse, 500 telex machines were discovered which had been bought by the previous Chilean government but left unused because nobody knew what to do with them. These were distributed to factories, and linked to two control rooms in Santiago. There a small staff gathered the economic statistics as they arrived, officially at five o’clock every afternoon, and boiled them down using a single precious supercomputer into a briefing that was dropped off daily at La Moneda, the presidential palace. Allende had once been a doctor and, Beer felt, instinctively understood his notions about the biological characteristics of networks and institutions. Just as significantly, the two men shared a belief that Cybersyn was not about the government spying on and controlling people. On the contrary, it was hoped that the system would allow workers to manage their workplaces, and that the daily exchange of information between the shop floor and Santiago would create trust and genuine cooperation – and the combination of individual freedom and collective achievement that had always been the political holy grail for many leftwing thinkers.

In October 1972, Allende faced his biggest crisis so far. Across Chile, with secret support from the CIA, conservative small businessmen went on strike. Food and fuel supplies threatened to run out. Cybersyn offered a way of outflanking the strikers: the telexes could be used to obtain intelligence about where scarcities were worst, and where people were still working who could alleviate them. The control rooms in Santiago were staffed day and night. People slept in them – even government ministers. The strike failed to bring down Allende. On September 10, a room was measured in La Moneda for the installation of an updated Cybersyn control centre, complete with futuristic control panels in the arms of chairs and walls of winking screens. The next day, the palace was bombed by the coup’s plotters. Beer was in London, lobbying for the Chilean government, when he left his final meeting before intending to fly back to Santiago and saw a newspaper billboard that read, “Allende assassinated.” The Chilean military found the Cybersyn network intact, and called in Espejo and others to explain it to them. But they found the open, egalitarian aspects of the system unattractive and destroyed it.”

Stafford Beer
http://metaphorum.org/
http://esrad.org.uk/resources/vsmg_3/screen.php?page=home/
http://cybsoc.org/StaffordCoup.wma
http://digitool.jmu.ac.uk:8881/R/CSKA9XEGH5341115KA516INXQBKKG542CUDPAXRN8KARHQRC26-00406?func=collections&collection_id=1234&local_base=stb

Viable System Model
http://mefeedia.com/entry/cybernetics-and-revolution-eden-medina/14957866
http://irevolution.wordpress.com/2009/02/21/project-cybersyn-chile-20-in-1973/
“Stafford is considered the ‘Father of Management Cybernetics” and at the heart of Stafford’s genius is the “Viable System Model” (VSM). Eden explains that “Cybersyn’s design cannot be understood without a basic grasp of this model, which played a pivotal role in merging the politics of the Allende government with the design of this technological system. They settled on an existing telex network previously used to track satellites. Like the Internet of today, this early network of machines was driven by the idea of creating a high-speed web of information exchange. Stafford had hoped to install “algedonic meters” or early warning public opinion meters in “a representative sample of Chilean homes that would allow Chilean citizens to transmit their pleasure or displeasure with televised political speeches to the government or television studio in real time.” [Stafford] dubbed this undertaking ‘ The People’s Project ’ and ‘ Project Cyberfolk ’ because he believed the meters would enable the government to respond rapidly to public demands, rather than repress opposing views.”

from Fanfare for Effective Freedom, by Stafford Beer
http://williambowles.info/sa/FanfareforEffectiveFreedom.pdf
“I am a scientist, but to be a technocrat would put me out of business as a man. I believe that cybernetics can do the job better than bureaucracy – and more humanely too. What is cybernetics that government should need it? It is, as I should prefer to define it today, “the science of effective organisation”. This is not to argue that all complex systems are really the same, nor yet that they are all in some way “analogous”. It is to argue that there are fundamental rules which, disobeyed, lead to instability, or to explosion, or to a failure to learn, adapt and evolve, in any complex system. And those pathological states do indeed belong to all complex systems – whatever their fabric, whatever their content – not by analogy, but as a matter of fact. Homeostasis is the tendency of a complex system to run towards an equilibrial state. This happens because the many parts of the complex system absorb each other’s capacity to disrupt the whole. If the system is to remain viable, if it is not to die, then we need the extra concept of an equilibrium that is not fixed, but on the move. Revolutions, violent or not, do blow societies apart – because they deliberately take the inherited system outside its physiological limits. The cybernetician will expect the politician to adopt one of two basic postures in the face of these systemic troubles. The first is to ignore the cybernetic facts and to pretend that the oscillations are due to some kind of wickedness which can be stamped out. The second is to undertake some kind of revolution, violent or not, to redesign the faulty instruments of government. It seems very clear to me as a matter of management science that if in these typical circumstances you do not like violence, then you should quickly embark on a pacific revolution in government. If you do not, then violence you will certainly get. Outstandingly it was Chile that embarked on this recommended course of pacific revolution. But in the wider world system, Chile’s experiment was observed as an oscillation to be stamped out.”

sky-green clouds, blue earth

celebratethesun1926
sky-green clouds, blue earth
by michael hessel-mial

Sun curving lightly,
twist
over the glittering
blisterdome, six
mile-high coffeeshops
direct lightning
to where it cannot be reached,
except through

handshakes. I long
for the days before
the menstrual taboo
replaced the world of smells,
somewhere between sulfur
and the aging limburger
our parents smelled for us.

Taking the same feeling,
and without turning it
upside down,
what once was brevity
is now gravity.

Industrial smoke is best
rendered
in pastel, or wavy lines
of ink that can morph
into hair,
cartoonishly crude,

pocket surrealism,
trombones from the smokestack.

Colliding peach fuselage,
clouds appearing overnight
framing a rainbow,
colored by gases found
deep in the earth,

unexpected openings
and penetrations.

Long before running
my hands through the dog’s
hair,
I know from scent
the oil that will remain
on my fingertips.

Mirrors, converted
from the windows
of retired skyscrapers,
cover thousands of acres
of the earth’s surface,

redirecting energy
made negative
through overuse
back into the atmosphere,

helping our trash bags
stay fresh,
even on sunny days

free of unexpected moisture.