Features footage from Crowley’s lodge in Italy…
Hakim Bey, Esopus maps #2, 2010, mixed media.
From a 2010 conversation with Hakim Bey (aka Peter Lamborn Wilson) by Hans Ulrich Obrist at e-flux:
“l call it vanishing art, which means that the art comes into existence in the very moment that it disappears. For example, the first piece I did involved throwing gold rings into a river—like the ancient druids used to do. Each of these works is based on a place in the region where I live, and each one is based on a historical event or person that I find inspiring, either because they were mystical or revolutionary, or for some other reason. In each case I find a way to do an artwork that vanishes, either immediately or over the course of a few days. I have plenty of plans for other ways of doing this, but so far I’ve been throwing things into water and burying things. In the future I’ll be burning a lot of things as well. I want to get into pyrotechnics.
“And then in each case, I make a map similar to the one that you have, using collage, which is meant to be a sort of magical manipulation of the toposphere, of the map world, the image of the place. I use photographs and found objects and so forth to make these, and I also keep a box of documentation for each one, with photographs, drafts, essays, poems, souvenirs, and so forth. So even though the art disappears, the map and the box remain behind as a record of the work.
“[This one] originated as a nineteenth century Hudson River navigation chart. The important place there is Esopus Island, which is where Aleister Crowley camped out in 1918. I visited it with William Breeze, who is the official representative of Aleister Crowley’s occult and literary remains. He’s the literary executor, and he’s also the head of the Ordo Templi Orientis, which is the occult lodge that Crowley left behind. So Bill Breeze and I hired a sailboat for the day and went to that island and explored it. We had a nice time, came back, had a nice dinner, and that was pretty much the start of this whole series of works. I realized that I’ve been living up here and studying the local history for ten years, and I don’t know what to do with all this material about this place where I live. I didn’t want to turn it into some stupid guidebook for tourists. I didn’t want to turn it into a stupid academic book for an academic press. So for now I’m putting all this historical and topological knowledge into these works I make in a very private way, just for friends. Maybe sometime I will have an exhibition of the maps. But I would like to wait a year or so, until I’ve really got a good, solid collection before doing something like a gallery show. So next year, God willing, I’m going to do another seven or eight of these works, and that might be enough to start thinking about doing a show. But in the meantime I sort of like the idea that it’s private and secret, driven by word of mouth and magical influences rather than publication or publicity.”
Sound Methods and Weird Channels
How producer and Masters of Reality main man Chris Goss got his groove
by Jay Babcock
Originally published August 26, 2004 in the LAWeekly
Over a recent leisurely afternoon lunch at Silver Lake’s Astro Family restaurant, musician/producer Chris Goss is in muse-aloud mode.
“Music usually makes its way into the hands that want it,” he says quietly. “Eventually, if you’re meant to have it, it’ll get to you, through weird channels that you’d never expect.”
I’m catching up with Goss at an interesting point in his career. The night before, he was in Studio City, contributing work to the new Queens of the Stone Age album at the request of longtime friend Joshua Homme, with whom Goss has collaborated since taking Homme’s desert-rock teenagers Kyuss under his producer’s protective wing in 1992. (Goss was featured on last year’s Homme-supervised The Desert Sessions Volume 9 & 10 in a duet with PJ Harvey on the desolate “There Will Never Be a Better Time.”) QOTSA co-vocalist Mark Lanegan’s new solo album, Bubblegum, which Goss co-produced and performs on, is finally out. Goss just finished producing the new album from buzzed-up Britfreaks the Eighties Matchbox B-Line Disaster, and is itching to start writing songs in a new project called Sno-Balls [eventually renamed Goon Moon—Ed.], with ex–Marilyn Manson bassist Twiggy Ramirez and Hella drummer Zach Hill. And his old band, Masters of Reality, has a new album out.
Well, in Europe, anyway. Like the last three Masters albums, Give Us Barabbas has no American distribution and is available only as an import at specialty stores on- and offline. And Barabbas, technically credited to “Masters of Reality/Chris Goss,” is not really a “new” album, it’s a collection of Goss-penned songs from the last 20 years that have gone previously unreleased in studio form. Why many of these songs are only appearing now is a long, serendipitous story involving Rick Rubin, band turnover, a grunge-choked ’90s marketplace inhospitable to the Masters’ varied classic rock sound and non-pretty-boy look, an impasse with a major record label, a “lost” album and Goss’ busy career as a producer. Cautionary and instructional as that tale may be, it is ultimately less important than the songs themselves: gems like the windswept, string-laden “The Ballad of Jody Frosty,” the campfire sing-along “I Walk Beside Your Love,” the majestic chorale “Still on the Hill,” the country-blues chantey “Bela Alef Rose,” the gorgeous epic “Jindalee Jindalie.” Any collection spanning two decades inevitably carries with it the air of biography, and Barabbas is certainly that; but it also feels like a secret monograph—a collection of timeless scrolls from a legendary Master that will be passed among acolytes and disseminated to those who are meant to hear it.
“Whatever will be, will be,” says Goss, with a smile.
Ethnopharmacologist Dennis McKenna, brother of the late great Terence, will be doing a rare live interview/conversation today on Erik Davis’s new weekly commercial-free online radio program, EXPANDING MIND—the perfect name with the perfect host and perfect guest, really, as the McKennas’ work in the ’80s and ’90s really expanded the cultural dialogue about what altered consciousness was telling us, (or, for Terence, what the Plants are telling us), what the historical record and scientific studies could tell us about entheogen (or: psychoactive substance) use, and so on…and on…and on… Should be interesting to hear what Dennis is up to, and his current thoughts on all things entheogenic. The show is on at 2pmEDT/11amPDT TODAY (Thursday, August 6) at Progressive Radio Network, and then will be archived. Here’s the link:
In other Erik Davis news, he sez: “I will be giving a presentation on Aleister Crowley and the movies at the Northwest Film Forum, 1515 12th Ave in Capital Hill. That particular rite will go down on Thursday, Aug 13, at 9pm.”
Here’s the description for the night:
“Though he died in obscurity in 1947, the renegade magician Aleister Crowley has come to exert an enormous influence on popular and sub-culture alike. Join Erik Davis, author of Techgnosis and the 33 1/3 volume on Led Zeppelin IV, for a clip-heavy “performance lecture” on occult film.
“Sampling rare footage, experimental shorts and documentary clips, Davis will use cinema to trace the development of postwar magick and Crowley’s apocalyptic religion of Thelema, with special attention given to the work of Kenneth Anger and the rise of magic in the 1960s and 70s. Numerous obscurities will be sampled, including Curtis Harrington’s Wormwood Star, Rex Ingram’s The Magician and the Jimmy Page version of Anger’s Lucifer Rising. Also included are excerpts from Crowley: The Other Loch Ness Monster, Joe Schimmel’s Christian expose Rock ‘n’ Roll Sorcerers and cut-up wizard Craig Baldwin’s recent Mock Up On Mu.”
Tickets and more info here: