Kiwi, the imaginary ethnographer

this is, you know, pretty great.

Please visit the show on the theme of Imaginary Ethnography in Experimental Music and Sound on the web space of Jeu de Paume: Fourth Worlds
And don´t miss to check the interactive work Phantom Islands –  A Sonic Atlas by Andrew Pekler commissioned by Jeu de Paume.

Fourth Worlds – Imaginary Ethnography in Experimental Music and Sound

Commissioner: Stefanie Kiwi Menrath

While cultural mixing has been a reality of all societies since time immemorial, there also exists a long history of circumscribing cultures as separate and geographically localized entities. Ethnographic field recording functions as part of this history of positioning and differentiating music cultures in the way that it links sounds to localities and positions them within a cultural cartography. In recent decades, a number of artists have countered static notions of culture and ideas of a territorialisation of music and sound with critical strategies of imagination and the imaginary. Through their work they ask: What are the imaginations inherent in the documentary technique of ethnography? How does the modern technology of field recording perpetuate a Eurocentric perspective of culture? Can sonic speculation destabilize cultural essentialisms or stimulate critical counter-memories?

Composer and trumpeter Jon Hassell set the stage with his eponymous 1980 album Fourth World Vol. 1: Possible Musics (reissued in 2014): « I wanted the mental and geographical landscapes to be more indeterminate – not Indonesia, not Africa, not this or that »… « Something that could have existed if things were in an imaginary culture, growing up in an imaginary place with this imaginary music”. In Hassell’s music the notion of “Fourth World” creates an imaginary place for musical and cultural exchange: beyond the utopia of a conflict-free cultural melange or the dystopian clash of cultural forms, it offers to transcend merely additive notions of contact. Hassell’s “Fourth World” draws on the “otherworldly” quality of music as such: not as an extension of the literal, developmental three-world-model, but as an experimental exploration of the spatial and temporal references of music and sound.

Taking Hassell’s notion of Fourth World as a conceptual formation (not as a musical genre), « Fourth Worlds » (note the plural) turns its focus to a series of artistic approaches that navigate the history and present tense of violently colonial, playfully postmodern or brashly contemporary cultural differentiations. « Fourth Worlds » aims to resonate with transcultural sonic thinking that, as in Paul Gilroy’s Black Atlantic, elucidates the performative and mobilizing dimension of sound and the restless, recombinant qualities of diasporic cultures criss-crossing oceans and resisting monolithic notions of “roots”. In this context, imagination has also been rightly critiqued at length as an instrument of domination and “othering”: imagination plays its part in the spatiotemporal distancing from “other”, “traditional” or “ethnic” cultures – for example in the cartography of former “colonies” and “nation states” and in narratives of the “other”.
Imagination is central not only to this history but also plays a crucial role in contemporary practices of ethnography – be they applied to the field of art or in cultural studies. Strategies of imaginary ethnography think these fields together and methodically reassess imagination. Imaginary ethnography alludes to both the productive capacity of imagination and its reproductive elements: it relates to the “cultural imaginary “ as a negotiation of a vast archive of images and socially shared imaginations about “others”, but it also activates imagination as a creative capacity of making appear a new image of something that neither is nor was.

Taking this as its starting point, « Fourth Worlds » brings together a selection of musical and sound artists and theorists who question the discourse of “otherness” through speculation. Dubious origin myths, mock music archives and phantom atlases, counter-memories and digital diasporic nations as well as islands empathically tied by pacifism, imaginative travel journals, future archaeologies or reconstructions of soon to be lost worlds – the pieces selected for this exhibition project musical and artistic counterstrategies to the ethnographic urge of fixing cultures to places.

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Great interview with Jay Murphy on Artaud’s Metamorphosis and more.

Read this super informative interview by clicking on the image below (but be sure to still buy the book as there is much more good stuff there)  or here for the pdf = JAY MURPHY with Joseph Nechvatal | The Brooklyn Rail

Screen Shot 2017-09-16 at 01.34.08

Security Theatre

This phrase was used on the BBC world service a few times yesterday in reference to the ban on laptops and other devices from some airports on some carriers, for reasons to do with airline competition, deflection of other news stories, or plain incoherence. I did not note who said it, but a quick search shows the phrase pop up a few times in the last 6 months, from for example, Shashank Joshi, a senior research fellow at a security think-tank: the Royal United Services Institute. The phrase has some affinity with pantomime terror, but I am more interested in how opportunist news stories can be used to run cover over less savoury announcements. The famous good day to bury a news story Sept 11 incident from Stephen Byers adviser Jo Moore.

This somehow got me to wondering about other ways news which must be gotten out is nevertheless buried in plain sight. I wondered if there were any dissertations written on The Chilcot Inquiry, because when that report finally came, after 7 years, on 6 July, 2016, it was released just one day before the ten year anniversary of the London 7/7  bombing. Was this an attempt that also benefitted from the plain sight effect of their simply being an avalanche of volumes, too expensive for popular reading, too thick for journalists to summarise, and too dull, making it the greatest unread tome since Quixote, so very uninspiring for public commentary, buried in plain sight without any action on the calls to put Blair in front of a war crimes tribunal.

Critics rating: 4 stars.

New Book by Jay Murphy on Antonin Artaud

artaudThis is it – Jay Murphy’s book is out.

Use the pavement site because postage is included…

Artaud’s Metamorphosis: From Hieroglyphs to Bodies without Organs
by Jay Murphy

The first book on the transformation from Artaud’s ‘early’ to ‘late’ work, showing how the ‘final’ Artaud leads straight into our digital present.
£18.99 (inc. free postage)

Artaud’s Metamorphosis: From Hieroglyphs to Bodies without Organs

A great new book from Pavement Books:

by Jay Murphy

£18.99 (inc. postage)
ISBN: 978-0-9571470-9-6

Despite being one of the most influential artists and writers of the mid-20th Century, Antonin Artaud’s voice remains inadequately deciphered. Artaud’s Metamorphosis is the first book on the transformation from his ‘early’ to ‘late’ work, and it shows how the ‘final’ Artaud leads straight into our digital present. This Artaud will alter how you think of media, the virtual, the political, and thought itself.

‘Only after reading Jay Murphy’s beautifully crafted, thought-provoking, scholarly yet light fingered, account did I become aware of the crucial role the benighted Artaud plays in capitalism-and-schizophrenia. Murphy is a most wonderful guide to the madness that is our voyage through reality as a body without organs.’
Michael Taussig, Columbia University

‘Jay Murphy’s book excels as a forensic investigation of the continuing explosion that was Artaud. It collects the traces left by his devastating passage through poetry, art, politics, philosophy, film and theatre and shows how Artaud’s “war unto eternity” pushed him beyonds the limits of the hieroglyph towards the “body without organs”. Lucid without compromising the darkness of Artaud’s suffering, it is essential reading for anyone interested in the madness of the 20th and 21st centuries.’
Howard Caygill, Kingston University

‘There is in Artaud a high velocity veering composed of lucidity and imaginative derangement. To figure out what he is really about is an extraordinary challenge. The most important aspect of Murphy’s contribution is his awareness that Artaud’s bizarre images and propositions carry visionary components relative to virtuality and digitality and may also address new relations of time, space, body and awareness. Such work indicates sophistication in reading Artaud that is far from the American 1960s attitude toward him.’
Clayton Eshleman, Eastern Michigan University

Table of Contents

Introduction: Metabolism and Immortality

I. A PROJECT FOR UNDERSTANDING ARTAUD

The matter of theory: updating ‘cosmos=chaos’

Artaud’s difference: sense and signification

Artaud’s glossolalia: a user’s guide

The yoga of the scream

The ‘figural’ and the language of the body

The revelation of how the ‘hieroglyph’ works in Artaud’s film scenarios

The persistence of myth: Artaud the mystic without mysticism, the shaman without community

II. IN THE LAND OF THE TARAHUMARAS

Artaud on ancient Mayan hieroglyphs: the ‘Space where Life dies’

Explaining ‘occult geometry’: Artaud’s art criticism

The visit to the Tarahumaras

Interpreting the Tarahumara rites

‘Stopping the world’: Artaud’s double, triple worlds

Touching the outside

III. RITUAL ACTS

Maps of the ‘unconscious’

Putting ‘time back on track’

The body is the operator

The conflict of the faculties

The case of Artaud’s ‘Tutuguri’ (1948)

The space of Artaud’s apocalypse

IV. TRANSFORMING RITUAL ACTS

Casting spells

Artaud’s apocalypse as initiation, or ‘complete voyage’

The world of sorcery as ‘permanent liminality’

Artaud and Jesus Christ

The cross and the crossroads, redux

The ‘universal’ cross: enter Guénon

Artaud’s The New Revelations of Being (1937)

The cross as a test of rhythm

V. HIEROGLYPHICS AS PASSAGE

Artaud’s becoming versus being

The fulcrum of the Cross: Artaud’s ‘Gnostic’ delirium

Artaud begins his re-formation: the cross and the sexuality of the ‘true body’

The ‘search for fecality’ in the creation of the new body

The cross is the pivot in this creation of the ‘true body’

The full ‘body without organs’ emerges

Artaud’s  ‘cure’

VI. THE FRACTURING OF THE VOID
AND THE EXPLODING HIEROGYLPH

The spherical body

Artaud’s 1947-8 notebooks: the combustion of hieroglyphics

The opening to animism: the ‘body without organs’ as mythic autoreference

Artaud on Van Gogh: the totem and the implosion of the
hieroglyphic figure

Derrida’s Artaud: the vicissitudes of the ‘subjectile’

Artaud’s ‘graphic cruelties’: the face of the void

The voice at the end of the world: the final sound works

Conclusion: ERASING THE LINE

Artaud’s subversion of hieroglyphics

Artaud in the 21st century: the ‘present body’

 order here:

 http://www.pavementbooks.com/artaudsmetamorphosis

Yale radio project latest

Just in:

“This week Ellen Carey talks about her beautiful and ground breaking work, and Rob Green articulates the downfall of the art economy and closing of his gallery while Jessica Backus from Artsy sees a global upswing in art sales and Zlatko Kopljar compares the artist relationship to the capitalist system as similiar to the Stockholm syndrome – where long term hostages start bonding with their captors and acting like them.

More artists and theorists are here talking about what they love, which is why I love doing this.

As always, the archive can be seen here and to hear it on itunes and download to your phone, click here,”

– the new additions are these on the list below. ​​

Jessica Backus
Ellen Carey
Thomas Dreher
Diana Shpungin
Rossella Emanuele
Zlatko Kopljar
Rob Greene
Davide Cantoni