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
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.
This is it – Jay Murphy’s book is out.
Use the pavement site because postage is included…
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)
A great new book from Pavement Books:
by Jay Murphy
£18.99 (inc. postage)
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
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
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
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’
“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.
– the new additions are these on the list below.
National Gallery of Victoria
Book Launch: Lockjaw
Surpllus/Telephone Publishing co-production
Sat 30 Apr, 1.30pm
Part of Melbourne Art Book Fair 2016
Zerox Dreamflesh (1979–1984) worked in the underground and around the edges – but mostly against the grain of – Sydney’s early-1980s postmodern philosophy and art scenes.
Dreamflesh was a loose group of writers, graphic artists and musicians who would have rejected the term “collective” in favour of something more like, say, “gang”. They produced a series of ’zine-ish print objects, music cassettes, colour Xerox postcards and a Super 8 film (The Black Cat, a riff on an Edgar Allen Poe story), working loosely – sometimes all together, sometimes not.
Their work was oppositional, not very accessible (though when you got it, you really got it), and always inspired and inspiring. Lockjaw (1983) – their fourth print object – was probably the most fully realised Dreamflesh project: A5, perfect-bound, part book, part magazine, part cultural terror manual.
Lockjaw was produced in a small run of a few hundred copies using a mix of two-colour xerography, offset and screen printing, and was collated and bound by hand. It was sold in independent bookshops, galleries, music stores and through the mail-art network.
Lockjaw is a multi-layered mix of photocopy, cut-and-paste graphics and text – a mashup of the intellectual and cultural world of 1982. The dense layering of words and images reflects an equally dense intellectual and emotional layering. It’s difficult to read, but rewarding, the writing a mix of metafiction, reflection, edgy philosophy, cultural journalism and existential comedy splashed across the page.
Dreamflesh’s work was produced in the spirit of Situationism and punk rock – it was ephemeral, not meant to last. Their physical traces today are scant: leftover copies of Lockjaw and their other publications (Zerox #1, Zerox #2, La La Sequence Bruit and Cargo, some colour Xerox postcards, and several music cassettes, including Wampum, a companion to Cargo) stashed on bookshelves and in boxes under people’s beds.
This reissue of Lockjaw is a co-publication of Telephone Publishing and Surpllus. The book has been scanned from an original copy and been reproduced by risograph – a 21st century analog to early-1980s photocopy art.
This new edition includes a separate section with essays by George Alexander and Professor Ross Gibson, an introduction by Sonya Jeffery, and a reflection on Lockjaw’s impact on one reader by Matt Holden.
Special events NGV International
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National Gallery of Victoria.
Booking is not required.