A note about Arthur Magazine's future from the editor/publisher.

Hey gang–

I am done with self-publishing Arthur, which I’ve been doing since July, 2007. It’s too much work for one person to edit, publish and manage a national magazine, month after month, year after year.

I am talking with interested parties regarding their taking over the Publisher role for Arthur Magazine.

Please stay tuned. And, subscribers: your subscriptions will be fulfilled when we resume publication. Thanks for your patience.

All love and R.I.P. Ron Asheton,

Jay Babcock
editor/publisher, Arthur Magazine
editor@arthurmag.com


"KEEPING IT LOCAL": Trinie Dalton visits BRIGHTBLACK MORNING LIGHT

trinienabob.jpg

Nabob, photographed by Trinie Dalton

KEEPING IT LOCAL
Two transplants from the Heart of Dixie who went west to the land of mesas, pueblos and geodesic domes, Rachael Hughes and Nathan Shineywater have found a way to thrive beyond society’s mad dash to survive. Trinie Dalton travels to New Mexico to meet BRIGHTBLACK MORNING LIGHT, and hear their stunning new album in the pair’s natural habitat.

originally published in Arthur No. 31 (Oct 2008), with photographs by Lisa Law

Leaving Brightblack Morning Light’s northern New Mexico deep wilderness enclave, I finally get their obsession with the local AM radio. The daily monsoon moves in as I fly down the hill from their town in my red rental car. Mexican cumbia, a variation of the upbeat Colombian pop music, sounds interplanetary crackling through the fuzzy AM distance. I imagine it transmitting from some far off Mexican star, a star I’d like to visit. Crank the cumbia, see what it can do in a storm. Brightblack Morning Light’s Nabob Shineywater says AM is like Sun Ra. Yesterday morning, just after I’d arrived, we were hiking up a wash and Nabob asked, “Who are we to say Sun Ra wasn’t from another planet?”

The sky gets dark as wind kicks up. With the first lightning crackle and boom, the radio shorts and cumbia cuts out—quiet for a moment, then back up, hissing, scratched, and damaged. Have I blown the speakers? Has the radio station’s tower been struck? Each lightning bolt slicing vertically down the flat horizon causes more disruption. Nabob also mentioned that in Los Alamos, scientists recently disproved Einstein’s theory that light travels fastest. Radio waves now win that contest. Two days after the anniversary of the Pueblo Revolt of 1860—a big deal in these parts—thunder means the obliteration of human sounds. Recognizable dance beats are exchanged for something Frankenstein-ish: a live, electric orchestration so weird and marvelous it could only have been invented by Nature, the omnipresent force in this sandy region.

Continue reading

ENDARKENMENT MANIFESTO by Peter Lamborn Wilson aka Hakim Bey

From ARTHUR MAGAZINE No. 29 (May 2008): Peter Lamborn Wilson’s half-serious proposal for a political movement to uphold and propagate the ideals of Green Hermeticism. Wilson sometimes uses the pen name ‘Hakim Bey.’ He is the author of the Temporary Autonomous Zone concept and manifesto, which, for better or worse, was the original inspiration for the Burning Man festival..

THE ENDARKENMENT MANIFESTO

At least half the year belongs to Endarkenment. Enlightenment is only a special case of Endarkenment—and it has nights of its own.

**

During the day democracy waxes, indiscriminately illuminating all and sundry. But shadowless noon belongs to Pan. And night imposes a “radical aristocracy” in which things shine solely by their own luminescence, or not at all.

**

Obfuscatory, reactionary and superstitious, Endarkenment offers jobs for trolls and sylphs, witches and warlocks. Perhaps only superstition can re-enchant Nature. People who fear and desire nymphs and fauns will think twice before polluting streams or clear-cutting forests.

**

Electricity banished shadows—but shadows are “shades,” souls, the souls of light itself. Even divine light, when it loses its organic and secret darkness, becomes a form of pollution. In prison cells electric lights are never doused; light becomes oppression and source of disease.

**

Superstitions may be untrue but based on deeper truth—that earth is a living being. Science may be true, i.e. effective, while based on a deeper untruth—that matter is dead.

**

The peasants attacking Dr. Frankenstein’s tower with their torches and scythes were the shock troops of Endarkenment, our luddite militia. The original historical Luddites smashed mechanical looms, ancestors of the computer.

**

“Neolithic conservatism” (Paul Goodman’s definition of anarchism) positions itself outside the ponderous inevitability of separation and sameness. Every caveman a Prince Kropotkin, every cavewoman Mrs. Nietzsche. Our Phalanstery would be lit by candles and our Passions avowed via messenger pigeons and hot-air balloons.

**

Imagine what science might be like to day if the State and Kapital had never emerged. Romantic Science proposes an empiricism devoid of disastrous splits between consciousness and Nature; thus it prolongates Neolithic alchemy as if separation and alienation had never occurred: science for life not money, health not war, pleasure not efficiency; Novalis’s “poeticization of science.”

**

Of course technology itself is haunted—a ghost for every machine. The myth of Progress stars its own cast of ghouls and efreets. Consciously or unconsciously (what difference would it make?) we all know we live in techno-dystopia, but we accept it with the deterministic fatalism of beaten serfs, as if it were virtual Natural Law.

**

Technology mimics and thus belittles the miracles of magic. Rationalism has its own Popes and droning litanies, but the spell they cast is one of disenchantment. Or rather: all magic has migrated into money, all power into a technology of titanic totality, a violence against life that stuns and disheartens.

**

Hence the universal fear/desire for the End of the World (or for some world anyway). For the poor Christian Moslem Jewish saps duped by fundamentalist nihilism the Last Day is both horrorshow and Rapture, just as for secular Yuppies global warming is a symbol of terror and meaninglessness and simultaneously a rapturous vision of post-Catastrophe Hobbit-like local-sustainable solar-powered gemutlichkeit. Thus the technopathocracy comes equipped with its own built-in escape-valve fantasy: the Ragnarok of technology itself and the sudden catastrophic restoration of meaning. In fact Capital can capitalize on its own huge unpopularity by commoditizing hope for its End. That’s what the smug shits call a win/win situation.

**

Winter Solstice (Chaos Day in Chinese folklore) is one of Endarkenment’s official holidays, along with Samhain or Halloween, Winter’s first day.

**

Endarkenment stands socially for the Cro-Magnon or “Atlantaean” complex—anarchist because prior to the State—for horticulture and gathering against agriculture and industry—for the right to hunt as against the usurpation of commons by lord or State. Electricity and internal combustion should be turned off along with all States and corporations and their cult of Mammon and Moloch.

**

Despite our ultimate aim we’re willing to step back bit by bit. We might be willing to accept steam power or hydraulics. The last agreeable year for us was 1941, the ideal is about 10,000 BC, but we’re not purists. Endarkenment is a form of impurism, of mixture and shadow.

**

Endarkenment envisages a medicine advanced as it might have been if money and the State had never appeared, medicine for earth, animals and humans, based on Nature, not on promethean technology. Endarkenment is not impressed by medicine that prolongs “life span” by adding several years in a hospital bed hooked up to tubes and glued to daytime TV, all at the expense of every penny ever saved by the patient (lit. “sufferer”) plus huge debts for children and heirs. We’re not impressed by gene therapy and plastic surgery for obscene superrich post humans. We prefer an empirical extension of “medieval superstitions” of Old Wives and herbalists, a rectified Paracelsan peoples’ medicine as proposed by Ivan Illich in his book on demedicalization of society. (Illich as Catholic anarchist we consider an Endarkenment saint of some sort.) (Endarkenment is somewhat like “Tory anarchism,” a phrase I’ve seen used earliest in Max Beehbohm and most lately by John Mitchell.) (Other saints: William Blake, William Morris, A.K. Coomaraswamy, John Cowper Powys, Marie Laveau, King Farouk…)

**

Politically Endarkenment proposes anarcho-monarchism, in effect somewhat like Scandinavian monarcho-socialism but more radical, with highly symbolic but powerless monarchs and lots of good ritual, combined with Proudhonian anarcho-federalism and Mutualism. Georges Sorel (author of Reflections on Violence) had some anarcho-monarchist disciples in the Cercle Proudhon (1910-1914) with whom we feel a certain affinity. Endarkenment favors most separatisms and secessions; many small states are better than a few big ones. We’re especially interested in the break-up of the American Empire.

**

Endarkenment also feels some critical admiration for Col. Qadhaffi’s Green Book, and for the Bonnot Gang (Stirnerite Nietzschean bank robbers). In Islamdom it favors “medieval accretions” like sufism and Ismailism against all crypto-modernist hyperorthodoxy and politics of resentment. We also admire the martyred Iranian Shiite/Sufi socialist Ali Shariati, who was praised by Massignon and Foucault.

**

Culturally Endarkenment aims at extreme neo-Romanticism and will therefore be accused of fascism by its enemies on the Left. The answer to this is that (1) we’re anarchists and federalists adamantly opposed to all authoritarian centralisms whether Left or Right. (2) We favor all races, we love both difference and solidarity, not sameness and separation. (3) We reject the myth of Progress and technology—all cultural Futurism—all plans no matter their ideological origin—all uniformity—all conformity whether to organized religion or secular rationalism with its market democracy and endless war.

**

Endarkenists “believe in magic” and so must wage their guerrilla through magic rather than compete with the State’s monopoly of techno-violence. Giordano Bruno’s Image Magic is our secret weapon. Projective hieroglyphic hermeneutics. Action at a distance through manipulation of symbols carried out dramaturgically via acts of Poetic Terrorism, surrealist sabotage, Bakunin’s “creative destruction”—but also destructive creativity, invention of hermetico-critical objects, heiroglyphic projections of word/image “spells”—by which more is meant (always) than mere “political art”—rather a magical art with actual dire or beneficial results. Our enemies on the Right might call this political pornography and they’d be (as usual) right. Porn has a measurable physiopsychological effect. We’re looking for something like it, definitely, only bigger, and more like Artaud than Brecht—but not to be mistaken for “Absolute Art” or any other platonic purism—rather an empirical strategic “situationist” art, outside all mass media, truly underground, as befits Endarkenment, like a loosely structured “rhizomatic” Tong or freemasonic conspiracy.

**

The Dark has its own lights or “photisms” as Henry Corbin called them, literally as entoptic/hypnagogic phosphene-like phenomena, and figuratively (or imaginally) as Paracelsan Nature spirits, or in Blakean terms, inner lights. Enlightenment has its shadows, Endarkenment has its Illuminati; and there are no ideas but in persons (in theologic terms, angels). According to legend the Byzantines were busy discussing “the sex of angels” while the Ottomans were besieging the walls of Constantinople. Was this the height of Endarkenment? We share that obsession.

Jan. 1, 2008


Tonight – John Zorn improv night/benefit for The Stone

3/8 Saturday at The Stone in NYC
8 and 10 pm

John Zorn Improv Night—A Stone Benefit

John Zorn (sax) Elliott Sharp (guitar) Jim Pugliese (percussion) Lukas Ligeti (drums) Ha-Yang Kim (cello) Anthony Coleman (piano) Wu Fei (guzheng) Reuben Radding (bass) Ikue Mori (laptop) and special guests

TWENTY DOLLARS

“The Stone is a not-for-profit performance space dedicated to the EXPERIMENTAL and AVANT-GARDE.

“There are no refreshments or merchandise at The Stone. Only music. All ages are welcome.

“There are no advance ticket sales.

“All admissions are at the door prior to each performance.”

THE STONE is located at the corner of avenue C and 2nd street


Tonight in Highland Park

This weekend:
“Between People” – Opening this Saturday, Aug. 11th, 7-10pm
This Saturday, August 11th we’ll be hosting the opening of “Between People”, organized by Robby Herbst and featuring work from Marc Herbst (from individual conversations with Katie Bachler, David Burns and Evan Holloway), Robby Herbst (with the Agape Dance Choir), Adam Overton and Hana van der Kolk. An organizational note: “As go-betweens and conduits, the four artists of Between People investigate interpersonal dynamics and acts of relating. From post-modern dance to group-dynamic workshops, the drawings, scripts as well as public and private encounters of Marc Herbst, Robby Herbst, Adam Overton and Hana van der Kolk explore acting on the desire to reach out and touch some one.”

David Patton LA
5006 1/2 York Boulevard
Los Angeles, California
90042 USA

Telephone:(323) 478-1966
Fax:(323) 478-1166
info@davidpattonlosangeles.com
Thur— Sat, 12-6pm, and by appointment