278. Making Odd-Ball Sports History by Uncertizing by Playing a Game of Black Rectangle over the Eye

- Ottobar, Baltimore, us@

- Sunday, February 6, 2000, 10:30-1:00PM

- I organized this evening. I had a self-inking rubber-stamp made with an image of a boy's face with a black rectangle over his eye taken from my filmstrip entitled "The Postman Always Rings the Homunculous of Woody Allen & Hollis Frampton, Twice" with "Black Rectangle over the eye" written underneath it. I rubber-stamped this around downtown Baltimore & near & in the Ottobar to subtly establish the image & the "game" name in advance.

The program began with Scott Larson playing his one-man band "Abomination". I had made an 8'X8' white Spandex screen for rear projecting onto & this was erected at the front of the stage at a slight angle. John Evans then projected a 16mm film of his by bouncing the projection off a mirror so the image could be larger than the shallow stage depth would've otherwise allowed. John Dierker improvised a tenor sax soundtrack to the film, which was otherwise silent.

"Black Rectangle over the eye" was introduced thru a screening of "The Postman.." filmstrip & a pamphlet relevant to the strip was handed out to the vaudience by etta cetera (a.k.a. etta cetera & Rita Rodentia - see most of the recent entries - starting at 212 with etta cetera mention).

Midway up the screen on either side were 2 2' slits for John Dierker & myself to stick our torsos out of from behind. Wearing rubber costume versions of towering Thai hats, I explained something like "that there's nothing like wearing ersatz Thai hats to make me feel like playing a game of Black Rectangle.." & we began. I played a digital horn controlling a wave-table synthesizer & played a loop on a CD that I'd specially contructed for such purposes. etta rear-projected the "Where We're" filmstrip (mentioned in 274) in the upper middle of the screen (without its soundtrack). John Evans projected my 16mm film "How Orgone Cinema Treats its Visiting Filmmakers" overtop my head - following the same projection technique used in the Music Gallery premier of John Henry Nyenhuis' & my "Bogus Piano Concerto" (see entry 199). John Dierker played tenor sax. This "game" was in 17 parts & John D had specific pitch sets & styles to play in during parts 2-9 after which he could play mostly free-form. At the entry to the 3rd part, Dave Scheper began shining a flashlight around & thru his "Codzilla" sculpture to shadow-project on the entire screen. This is a "junk-metal" sculpture of something resembling a codfish skeleton standing about 5' tall on its tail. The shadow was very dramatic & dynamic. Highlights of this were when etta cetera confronted Codzilla with a hand-shadow of a dog profile & when she 'fed' Codzilla a beer. At various points, John D & I would take black rectangles of tape & place them above our eyes - sometimes acting as if we were somehow 'triumphant' - such as by raising a fist & shouting "YEAH!". At the end, I announced that John D had won the game.

This was followed by a projection of etta's "The Truth About the Dimensionally Challenged" & then by my "Shuffle Mode" (in filmstrip versions). The evening ended with a trio improv played by Scott, John D, & myself.

- recollections from tENTATIVELY, a cONVENIENCE

 

279. With Joost Rekveld

- Media City 6, Capitol Theatre, Windsor, Ontario, CacaNada

- Saturday, February 12, 2000, 9:15-9:30PM

- I was invited to play "music" along with Joost's presentation. This is described in the Media catalog by Joost as "An installation in which images are produced through interference. The interplay between the time lag of our eye and the fast rotation of a pulsating light source results in fluctuating ornaments. The principle of my installation was inspired by the experiments that Chevalier D'Arcy and Joseph Plateau did in the seventeenth and eighteenth century, respectively. They tried to measure the temporal response of the human eye by confronting it with spinning colored discs or revolving, glowing coals. These experiments were at the basis of the later inventions of cinema and television." Joost controlled a spinning metal arm with lights on it by playing a synthesizer. Because of a power problem he was more limited than usual & the presentation was shortened to 15 minutes. I played digital horn, 2 CD-players, sampler/sequencer, wave-table synthesizer, & f/x.

- recollections from tENTATIVELY, a cONVENIENCE

 

280. Community Affiliations

- Michael Pestel's CMU Community Affilliations Class, Pittsburgh, us@

- Monday, February 28, 2000, 6:15-9:15PM

- The "Community Affilliations" class at Carnegie-Mellon University is required for grad students in the "arts". Its purpose is to get students out of their studios & other art-world ghettos & into other communities. The class was told to meet at the fountain at the end of Baum Boulevard in the neighborhood of East Liberty. I arrived with the Pictogramet (see 203, 256, 268, & 271) & began a Generic Tour (see 271 & 274). They were then led to the apartment of Emily (1 of the students in the class) where "Where We're" was video-projected onto the wall upon their arrival so that they could experience the Generic Tour continuing in another way. The 1st 10 minutes or so of that played & then I stopped it & switched to a slide lecture similar to that described in entry 272. The same Mike Film containing hand-out that was used in 191 was handed out when I came to appropriate point in the lecture. 4 more vaudeos relevant to unusual community interaction were then screened:

"Neoist Guide Dog"

"Murraygate Busking"

"Funny Farm Summit Meeting"

& "Air Drops" (version 2)

The class was then invited to ask me questions as a part of a "Pittsburgh Pirates - Steelers of the Airwaves" pirate radio broadcast. The equipment was set up in the kitchen. I played 2 CDs in shuffle mode that I'd made with my material combined with sound effects & a mike was passed around for people to speak into so that their voices could be broadcast overtop. The radio in the living room (where the previous activities had taken place) was tuned to our broadcast so that non-participants could monitor what we were doing. I was assisted in this last portion by the Princess of Dorkness.

- recollections from tENTATIVELY, a cONVENIENCE

 

281. Symposium

- National Art Gallery, Kuala Lumpur, Malaysia

- Saturday, March 18, 2000

- This symposium on experimental movie-making was organized in connection with a festival competition. etta cetera (see most of the entries from 212 on - mentioning etta cetera & Rita Rodentia) & I were on the panel along with 4 Malaysians. One of the panelists introduced himself, honestly enough, by saying that he wasn't an experimental filmmaker & that he wasn't even sure he even liked experimental filmmaking. One of the other panelists was a documentary maker. The other 2 panelists screened an excerpt from Sadie Benning (YUK! Talk about artificially manufactured 'stars'!) & an excerpt from Jonas Mekas. Wearing my S.P.C.S.M.E.F. killer whale outfit & severed head hat & using my player-belt to play sound effects, I stood at the podium & talked about film & vaudeo making. At one point I mentioned an idea for a rejected early film: shooting oncoming traffic on a limited access speedway by rolling across it. This was demonstrated by rolling on the stage. I screened vaudeo versions of:

 

"Philosopher's Union Member's Mouthpiece: Emma Elizabeth Downing"

"Subtitles (June/July '92 version)"

"Diszey Spots"

"Department of Failures"

"Background Movies for Home Music #2"

 

Of course, questions & answers were asked of the panelists. Since this event was somewhat preparatory for a competetion, much of the time was spent discussing criteria for "judging" experimental work. Eventually volunteers from the audience were requested & 4 enthusiastic people held the corners of my white spandex screen while "Where We're Trailer #2" was projected onto it. Since the screen was too small under the projection circumstances, the image went way beyond its borders but it didn't matter. The idea was for them to wiggle & otherwise manipulate the screen while the projection was happening to show how simply a 'special effect' could be accomplished with very little money. I'm happy to say that this presentation was enthusiastically received.

- recollections from tENTATIVELY, a cONVENIENCE

 

282. 1st Secret Meeting of the 1st Non-Existent International Neoist Apartment Festival in the Year 000

- various locations in Adelaide, Australia

- Monday, March 20, 2000, 6:00-9:00PM

- There had been e-mail discussions for about 15 months between people in several countries about having an Adelaide-based Neoist Apartment Festival. etta cetera (see most of the entries from 212 on - mentioning etta cetera & Rita Rodentia) & I flew to Australia originally motivated by the intention of participating in this hypothetical festival - even though we 'knew' from correspondence that it had no substantial basis. The following description, & all other entries relevant to this festival, are excerpted from:

 

A Report on the 1st Non-Existent International Neoist Apartment Festival

in Adelaide, South Australia

from Monday, March 20th, 000 'til Saturday, March 25th, 000

(With additional action on Tuesday & Wednesday, April 4 & 5, 000)

written by tENTATIVELY, a cONVENIENCE

 

[etta cetera & I arrived in Adelaide on Sunday, March 19th & were met at the airport by festival conspirators Karen Eliot & Jen. I never saw Jen again in connection with any neoist activities. A vegetarian barbecue had been proposed for later that day as a festival planning session but that seemed unlikely to happen so the main event of the day was a visit to the former Adelaide Gaol where the Tap 000 Theatre was scheduled to perform (amongst others) & where I was scheduled to UNCERTIZE & to screen a video version of "Bob Cobbing".

Few, or no, VAUDIENCE members arrived, my sampler wouldn't work, the Tap 000 performance was cancelled, The Band That Couldn't Plough Straight played, & etta & I were severely jet-lagged, but I managed to stay awake long enough to screen "Bob Cobbing" anyway to a not-completely rapt small group.

Throughout this 1st day, it had become obvious that there was little or no interest in the long-awaited 1st Australian Neoist Festival that etta & I had been planning to attend for over a year & that we'd travelled over halfway around the world for (having taken the long way via Malaysia). All of Karen's attempts to organize planning sessions had been fairly ill-attended & fruitless. All of Karen's phonecalls to clubs & such-like places to try to set up UNCERTS, SO-CALLED WHATEVERS, & such-like had been unreturned. Given these circumstances, I proposed that we dub the festival the 1st NON-EXISTENT INTERNATIONAL NEOIST APARTMENT FESTIVAL IN THE YEAR 000 worth travelling over halfway 'round the world for. After all, who wants to travel that far just for your ordinary, everyday Neoist Apartment Festival when you can go to the 1st NON-EXISTENT one instead?

It was decided that the Non-Existent Festival would consist of SECRET MEETINGS partially publicized thru messages passed via SECRET HANDSHAKES.]

Thusly, the 1st Secret Meeting was arranged to begin at the Crown & Sceptre Pub on Monday, March 20th @ 6PM sharp. etta & Karen went to the pub to find only 2 possible co-conspirators present, a tagger named "H" & Dave (who was mainly there thinking he was to fix my sampler). 3 other people were coincidentally present for an environmental activists' meeting: Roman, Sarah, & Jeremy. Switching into caricature spy mode, etta lured H, Dave, Roman, & Sarah along with her & Karen outside & to a park where I lurked awaiting them.

When they arrived, I appeared & began a GENERIC TOUR: leading them towards Karen's place (without announcing that that was what I was doing) while describing the environment in generic terms that could be just as applicable to most other environments. H, D, R, & S had 'no idea' of what was happening. As had been prearranged, Karen rode off on a bike to arrange things at home - thusly removing H, D, R, & S's main tenuous connection to the tour.

Shortly thereafter, I suddenly ran away - confusing things further. H, D, R, & S didn't bother to try to follow & etta came after me - worried that we'd lose them. I returned, to find H gone. Presumably, without Karen's presence & without any simple-minded explanation, H became alienated &/or bored & had had enough. I never saw him again.

This reinforced my opinion that most taggers can't get beyond the territorial pissing stage of infancy. With much ambiguous coaxing on my part, D, R, & S were finally led to Karen's where, as they entered, my feature-length filmstrip/VAUDEO entitled "Where We're" was playing on the TV. "Where We're" has a Generic Tour soundtrack so the Tour experience was moved into a different realm. Food (provided by Karen) & Beer (provided by etta & myself) was served & it was announced that the final phase of the night's Secret Meeting would occur in a nearby park. Sarah then dropped out & I never saw her again. 3 STEAM IRONS were FLAMED outside to initiate the final leg. Roman helped us carry the supplies & then he too left - inviting etta & Me to join him on his 3D Community Radio Show, "Environments", the next night. The vegetarian barbecue was held in the park, the Steam Irons were Flamed anew, & Karen, etta, Dave, & I held our meeting at a table. We all agreed that we were David A. Bannister, Monty Cantsin, Karen Eliot, Luther Blissett, Jesus Christ, Santa Claus, & Shakespeare (etc..). Various secret projects were proposed. Dave said that he'd always wanted to add a bust of his own choosing to the line of busts on North Terrace by the Government House where "visiting [in]dignitaries" & such-like stay. Given that Dave was a newcomer to this 'patanational conspiracy, a high priority was set for realizing his proposal.

Dave further stated that he might have difficulty attending further secret meetings because of lack of transportation funds. etta suggested the providing of an on-the-spot NEOIST GRANT to resolve the problem - which Dave refused - saying he'd manage. We never saw Dave again after this meeting. Throughout the night, Secret Messages announcing the next Secret Meeting were passed along via Secret Handshakes. These messages, handmade & written by etta, called for meeting behind 3D on Wednesday, March 22nd @ 6:00PM sharp. After all, it's always 6:00 in Neoism?!.

- recollections from tENTATIVELY, a cONVENIENCE

 

283. Environments Radio Program

- 3D Community Radio Station, Adelaide, Australia

- Tuesday, March 21, 2000

- The following description is excerpted from:

 

A Report on the 1st Non-Existent International Neoist Apartment Festival

in Adelaide, South Australia

from Monday, March 20th, 000 'til Saturday, March 25th, 000

(With additional action on Tuesday & Wednesday, April 4 & 5, 000)

written by tENTATIVELY, a cONVENIENCE

 

On Tuesday, March 21st, etta (see most of the entries from 212 on - mentioning etta cetera & Rita Rodentia) & I appeared as guests on Roman's "Environments" radio program. I discussed media environments (or some such) & played excerpts from the STREET RATS' "RATical RATio - Prat 1" CD. etta refused to speak.

- an audio recording of this is available as track 1 on the Internet Archive here: https://archive.org/details/Radio2000

- recollections from tENTATIVELY, a cONVENIENCE

 

284. 2nd Secret Meeting of the 1st Non-Existent International Neoist Apartment Festival in the Year 000

- 3D Community Radio Station, Adelaide, Australia

- Wednesday, March 22, 2000

- There had been e-mail discussions for about 15 months between people in several countries about having an Adelaide-based Neoist Apartment Festival. etta cetera (see most of the entries from 212 on - mentioning etta cetera & Rita Rodentia) & I flew to Australia originally motivated by the intention of participating in this hypothetical festival - even though we 'knew' from correspondence that it had no substantial basis. The following description, & all other entries relevant to this festival, are excerpted from:

 

A Report on the 1st Non-Existent International Neoist Apartment Festival

in Adelaide, South Australia

from Monday, March 20th, 000 'til Saturday, March 25th, 000

(With additional action on Tuesday & Wednesday, April 4 & 5, 000)

written by tENTATIVELY, a cONVENIENCE

 

[etta cetera & I arrived in Adelaide on Sunday, March 19th & were met at the airport by festival conspirators Karen Eliot & Jen. I never saw Jen again in connection with any neoist activities. A vegetarian barbecue had been proposed for later that day as a festival planning session but that seemed unlikely to happen so the main event of the day was a visit to the former Adelaide Gaol where the Tap 000 Theatre was scheduled to perform (amongst others) & where I was scheduled to UNCERTIZE & to screen a video version of "Bob Cobbing".

Few, or no, VAUDIENCE members arrived, my sampler wouldn't work, the Tap 000 performance was cancelled, The Band That Couldn't Plough Straight played, & etta & I were severely jet-lagged, but I managed to stay awake long enough to screen "Bob Cobbing" anyway to a not-completely rapt small group.

Throughout this 1st day, it had become obvious that there was little or no interest in the long-awaited 1st Australian Neoist Festival that etta & I had been planning to attend for over a year & that we'd travelled over halfway around the world for (having taken the long way via Malaysia). All of Karen's attempts to organize planning sessions had been fairly ill-attended & fruitless. All of Karen's phonecalls to clubs & such-like places to try to set up UNCERTS, SO-CALLED WHATEVERS, & such-like had been unreturned. Given these circumstances, I proposed that we dub the festival the 1st NON-EXISTENT INTERNATIONAL NEOIST APARTMENT FESTIVAL IN THE YEAR 000 worth travelling over halfway 'round the world for. After all, who wants to travel that far just for your ordinary, everyday Neoist Apartment Festival when you can go to the 1st NON-EXISTENT one instead?

It was decided that the Non-Existent Festival would consist of SECRET MEETINGS partially publicized thru messages passed via SECRET HANDSHAKES.]

The plan for Wednesday's Secret Meeting had been for Karen to take people into a storm drain where etta & I were to be waiting in a candle-lit & incense infused space with a portable sound system & with etta as the naked & painted HUMAN SYNTHESIZER to be demonstrated by me & available for playing by all the attendees. However, when the day arrived, it was pouring. Karen, etta, & I rode our bikes (etta's & mine generously loaned to us by 101 BIKES - a service that fixes bikes & sells them CHEAP for a token price like $52 Australian) to the rendevous & got completely soaked. etta's laborious Human Synthesizer paint-job got totally smeared. When we reached the stormdrain, it had maybe 6 inches of water. Within 10 minutes it had about 3 feet of water. 5 Minutes later, it had rapids that were overflowing its vertical containing walls. If we had gone in earlier, we might've drowned. As a last-minute alternative to the stormdrain, we decided to have the secret meeting on the radio if the people at 3D would allow it. Karen & I went there & talked with various people - eventually asking for permission from the Station Manager. It was quite a challenge for my charm to explain that we were in the midst of having the 1st NON-EXISTENT INTERNATIONAL NEOIST APARTMENT FESTIVAL & that our plans to have our Secret Meeting in the stormdrain had been foiled by the rain & that we wanted to have our Secret Meeting over the air (&, therefore, audible to the general public) as an alternative because we thought it was FUNNY &, uh, is that ok? It's to the enormous credit of the 3D personnel & their true COMMUNITY SPIRIT that they were amenable to the idea & @ 6:00PM (when else?) we began the 2nd Secret Meeting broadcast as a part of the show hosted by Hannah called something like "Drive-Time" & aimed at people driving home from work. Hannah was completely bemused & thoroughly friendly & cooperative as I played sound effects from my PLAYER-BELT, played the HUMAN SYNTHESIZER, discussed the 1st NON-EXISTENT INTERNATIONAL NEOIST APARTMENT FESTIVAL & our plans & details for the 3rd Secret Meeting to be convened the next day (Thursday, March 23rd) @ double 6:00 (more commonly known as "noon") in front of the Church of Scientology on Waymouth Street, exchanged Secret Handshake Messages, & interviewed the attendees that Karen led to the studio window (since station rules didn't allow them to enter the building). Karen played didjeridoo, Rick (as the representative of Pope Fred) spoke in ways determined by text on prepared cards (such as categories like "dogmatic statement"), Bird-E appeared & got slotted into the role of ANTI-NEOIST, Roman said a few words, & a woman happened by who may've refused to speak. After the radio show ended, we moved to a nearby pub (minus Hannah) where further conspirings & speeches occurred.

- an audio recording of this is available as track 2 on the Internet Archive here: https://archive.org/details/Radio2000

- recollections from tENTATIVELY, a cONVENIENCE

 

285. 3rd Secret Meeting of the 1st Non-Existent International Neoist Apartment Festival in the Year 000

- Karen Eliot's studio & nearby environs, Adelaide, Australia

- Thursday, March 23, 2000, double 6 0'clock

- There had been e-mail discussions for about 15 months between people in several countries about having an Adelaide-based Neoist Apartment Festival. etta cetera (see most of the entries from 212 on - mentioning etta cetera & Rita Rodentia) & I flew to Australia originally motivated by the intention of participating in this hypothetical festival - even though we 'knew' from correspondence that it had no substantial basis. The following description, & all other entries relevant to this festival, are excerpted from:

 

A Report on the 1st Non-Existent International Neoist Apartment Festival

in Adelaide, South Australia

from Monday, March 20th, 000 'til Saturday, March 25th, 000

(With additional action on Tuesday & Wednesday, April 4 & 5, 000)

written by tENTATIVELY, a cONVENIENCE

 

[etta cetera & I arrived in Adelaide on Sunday, March 19th & were met at the airport by festival conspirators Karen Eliot & Jen. I never saw Jen again in connection with any neoist activities. A vegetarian barbecue had been proposed for later that day as a festival planning session but that seemed unlikely to happen so the main event of the day was a visit to the former Adelaide Gaol where the Tap 000 Theatre was scheduled to perform (amongst others) & where I was scheduled to UNCERTIZE & to screen a video version of "Bob Cobbing".

Few, or no, VAUDIENCE members arrived, my sampler wouldn't work, the Tap 000 performance was cancelled, The Band That Couldn't Plough Straight played, & etta & I were severely jet-lagged, but I managed to stay awake long enough to screen "Bob Cobbing" anyway to a not-completely rapt small group.

Throughout this 1st day, it had become obvious that there was little or no interest in the long-awaited 1st Australian Neoist Festival that etta & I had been planning to attend for over a year & that we'd travelled over halfway around the world for (having taken the long way via Malaysia). All of Karen's attempts to organize planning sessions had been fairly ill-attended & fruitless. All of Karen's phonecalls to clubs & such-like places to try to set up UNCERTS, SO-CALLED WHATEVERS, & such-like had been unreturned. Given these circumstances, I proposed that we dub the festival the 1st NON-EXISTENT INTERNATIONAL NEOIST APARTMENT FESTIVAL IN THE YEAR 000 worth travelling over halfway 'round the world for. After all, who wants to travel that far just for your ordinary, everyday Neoist Apartment Festival when you can go to the 1st NON-EXISTENT one instead?

It was decided that the Non-Existent Festival would consist of SECRET MEETINGS partially publicized thru messages passed via SECRET HANDSHAKES.]

In the Secret Handshake Message for the 3rd Secret Meeting we had encouraged potential attendees to: "Come celebrate further the Triumph of the Anti-Neoists!" The hand-outs each had a BLACK RECTANGLE OVER THE EYE rubber-stamping & a BLIND AUTHORITY MANIPULATION CORPORATION rubber-stamping on them. SO, on Thursday, March 23rd, Rick, Karen, & I entered the Church of Scientology building to ascend to the 3rd floor where Karen's studio was (unrelated to the Church) after giving up on anyone else's potential arrival. etta was mad at me & was staying away - after having dropped off the plaster strips supplies that we intended to use to make the composite bust mold of the UNKNOWN NEOIST with. The bottom of Rick's face was used for molding & he was rendered incapable of speaking as a result. While we waited for his plaster strips to dry, I read excerpts from L. Ron Hubbard's idiotic book "ART". The most difficult part for Rick was refraining from laughing &, therefore, damaging the mold. After Rick, my right ear & the top of my head (covered by a shower-cap with a plastic frog toy in it) were used for molding. While I waited for the plaster to dry, I was VAUDEOED by Karen leaving the Church of Scientology building mysteriously swathed. This attracted the attention of the Scientologists who nervously asked us what we were doing. Karen was next. S/He had his/her eyes plastered over & was then led out to the busy corner of Waymouth & King William Street to be Vaudeoed blindly handing out the slick, glossy, full-color "Quit your job!" pamphlet that had been prepared by her/him in preparation for this festival. Rick & etta (who had eventually come along) instructed Karen as to which way to turn in order to thrust the pamphlets toward the passersby (who were usually loath to take them). Karen held a clock indicating that it was 6:00 & a confused & slightly drunk man stared at it & asked etta what time it was. She, naturally, replied "6:00" & he told her that she couldn't tell time & that it was obviously something closer to 4:00. Then he asked ME what time it was & I said "6:00" too - further annoying him. Returning again to the studio, etta's left ear & the back of her neck were molded as the final composite bust part. As usual Secret Handshake Messages were exchanged: "Anti-Neoist Rally - Down with the "Quit your job" leafletters!". These were rubber stamped with: "Work Will Make You Free Trade".

- recollections from tENTATIVELY, a cONVENIENCE

 

286. 4th Secret Meeting of the 1st Non-Existent International Neoist Apartment Festival in the Year 000 - Anti-Neoist Rally

- Streets of Adelaide, Australia

- Friday, March 24, 2000, 1PM

- There had been e-mail discussions for about 15 months between people in several countries about having an Adelaide-based Neoist Apartment Festival. etta cetera (see most of the entries from 212 on - mentioning etta cetera & Rita Rodentia) & I flew to Australia originally motivated by the intention of participating in this hypothetical festival - even though we 'knew' from correspondence that it had no substantial basis. The following description, & all other entries relevant to this festival, are excerpted from:

 

A Report on the 1st Non-Existent International Neoist Apartment Festival

in Adelaide, South Australia

from Monday, March 20th, 000 'til Saturday, March 25th, 000

(With additional action on Tuesday & Wednesday, April 4 & 5, 000)

written by tENTATIVELY, a cONVENIENCE

 

[etta cetera & I arrived in Adelaide on Sunday, March 19th & were met at the airport by festival conspirators Karen Eliot & Jen. I never saw Jen again in connection with any neoist activities. A vegetarian barbecue had been proposed for later that day as a festival planning session but that seemed unlikely to happen so the main event of the day was a visit to the former Adelaide Gaol where the Tap 000 Theatre was scheduled to perform (amongst others) & where I was scheduled to UNCERTIZE & to screen a video version of "Bob Cobbing".

Few, or no, VAUDIENCE members arrived, my sampler wouldn't work, the Tap 000 performance was cancelled, The Band That Couldn't Plough Straight played, & etta & I were severely jet-lagged, but I managed to stay awake long enough to screen "Bob Cobbing" anyway to a not-completely rapt small group.

Throughout this 1st day, it had become obvious that there was little or no interest in the long-awaited 1st Australian Neoist Festival that etta & I had been planning to attend for over a year & that we'd travelled over halfway around the world for (having taken the long way via Malaysia). All of Karen's attempts to organize planning sessions had been fairly ill-attended & fruitless. All of Karen's phonecalls to clubs & such-like places to try to set up UNCERTS, SO-CALLED WHATEVERS, & such-like had been unreturned. Given these circumstances, I proposed that we dub the festival the 1st NON-EXISTENT INTERNATIONAL NEOIST APARTMENT FESTIVAL IN THE YEAR 000 worth travelling over halfway 'round the world for. After all, who wants to travel that far just for your ordinary, everyday Neoist Apartment Festival when you can go to the 1st NON-EXISTENT one instead?

It was decided that the Non-Existent Festival would consist of SECRET MEETINGS partially publicized thru messages passed via SECRET HANDSHAKES.]

As usual Secret Handshake Messages were exchanged: "Anti-Neoist Rally - Down with the "Quit your job" leafletters!". These were rubber stamped with: "Work Will Make You Free Trade". The instruction had been to "Meet at the north side of the fountain in Victoria Square @ 1:00PM Friday March 23rd" Readers were further informed that "It's Always 1 O'Clock in Anti-Neoism." Somewhat to my surprise, there were 2 new Anti-Neoists awaiting: John & Ebony - in addition to Rick & Bird-E (who'd proposed this Anti-Neoist Rally & who'd established his personality as an anti-neoist more than anyone else in Adelaide so far) &, of course, etta & myself: as the Anti-Neoists - with Karen as that dagnabbed Neoist attempting to hand out leaflets. Bird-E had a banner that read "Contemporary Culture is Fantastic" & etta & I brought cardboard signs that read "Karen Eliot is a Front Covering Monty Cantsin's Back" (when I'd chant from this I'd usually add: "& Luther Blissett's Behind It All!"), "Neoists are Worse than Multi-National Corporations", "Stop Neoists from Pissing in Your Gene Pool", etc.. Walking on the King William St sidewalk, we passed thru dense groups of pedestrians while Karen attempted to give out the "Quit your job"s. The Anti-Neoists harangued everyone around with things like "Don't take the pamphlet! Neoism is evil!" & if people asked what Neoism was, I said things like "Neoism's against everything you stand for!" - keeping everything vaguely tautological to try to maintain a purist propagandistic emotionally charged but otherwise empty stance. The result of this reverse psychology was that many more people than usual took the pamphlets & I even saw people sitting around reading them to each other in apparent wonder. Whenever anyone wouldn't take them, I loudly lauded them for being an Anti-Neoist. The idea of "It's Always 1 O'Clock in Anti-Neoism" was developed into the idea of working straight thru without a lunchbreak & workers were encouraged to do so & to WORK HARDER. Chants contrary to the usual 'leftist' ones were created - like: "More Cars, Less Bikes", "Bring Back the Vietnam War", &, etta's personal favorite, "Everything's OK!". Ardent attempts to convert people to Anti-Neoism were made. One man approached etta with a "Quit.." pamphlet & said something like: "People shouldn't quit their jobs! They should get jobs & join society!" - to which she replied: "That's what we think too! It's that Neoist over there who's against us!". John kept rhetorically asking: "Would you like fries with that?". Finally, we reached the steps of Adelaide's Parliament where the Anti-Neoists mounted their/our signs & continued to harrass Karen. When s/he ran out of pamphlets s/he continued to hand out with the "Unknown Neoist for Lord Mayor" posters that etta & I had made & which had been sporadically posted & given away in the preceeding days. A policeman came & recognized Rick from a previous demonstration. They had a friendly chat & I approached the officer & thanked him for coming & told him that we needed more of his kind on the Anti-Neoist side & begged him to bring more police along with him the next time. He received this all in good humor & left saying that if we had any trouble with any other police that we should come to him & he'd smooth it out. The Secret Handshake Message for the day had the following:

"Down With the Down-Under Neoists!

Tired of Neoists PISSING IN YOUR GENE POOL?

Crash Their 5th Secret Meeting

of Their Stupid 1st Non-Existent

International Neoist Apartment festival in the Year Zero Zero Zero

@ Victoria Square @ 1:00PM Saturday March 25th

& Show Them What's What!".

What wasn't mentioned in the above was that this was the starting point of Adelaide's 1st "Reclaim the Streets" (although at least 1 similar event had previously occurred) which was also being coorganized by Karen Eliot.

For a brief quasi-documentary of this Anti-Neoist Rally" on YouTube: https://youtu.be/QX7963kyl2k.

- recollections from tENTATIVELY, a cONVENIENCE

 

287. Reclaim the Streets! / 5th Secret Meeting of the 1st Non-Existent International Neoist Apartment Festival in the Year 000

- Streets & Parks of Adelaide, Australia

- Saturday, March 25, 2000

- There had been e-mail discussions for about 15 months between people in several countries about having an Adelaide-based Neoist Apartment Festival. etta cetera (see most of the entries from 212 on - mentioning etta cetera & Rita Rodentia) & I flew to Australia originally motivated by the intention of participating in this hypothetical festival - even though we 'knew' from correspondence that it had no substantial basis. The following description, & all other entries relevant to this festival, are excerpted from:

 

A Report on the 1st Non-Existent International Neoist Apartment Festival

in Adelaide, South Australia

from Monday, March 20th, 000 'til Saturday, March 25th, 000

(With additional action on Tuesday & Wednesday, April 4 & 5, 000)

written by tENTATIVELY, a cONVENIENCE

 

[etta cetera & I arrived in Adelaide on Sunday, March 19th & were met at the airport by festival conspirators Karen Eliot & Jen. I never saw Jen again in connection with any neoist activities. A vegetarian barbecue had been proposed for later that day as a festival planning session but that seemed unlikely to happen so the main event of the day was a visit to the former Adelaide Gaol where the Tap 000 Theatre was scheduled to perform (amongst others) & where I was scheduled to UNCERTIZE & to screen a video version of "Bob Cobbing".

Few, or no, VAUDIENCE members arrived, my sampler wouldn't work, the Tap 000 performance was cancelled, The Band That Couldn't Plough Straight played, & etta & I were severely jet-lagged, but I managed to stay awake long enough to screen "Bob Cobbing" anyway to a not-completely rapt small group.

Throughout this 1st day, it had become obvious that there was little or no interest in the long-awaited 1st Australian Neoist Festival that etta & I had been planning to attend for over a year & that we'd travelled over halfway around the world for (having taken the long way via Malaysia). All of Karen's attempts to organize planning sessions had been fairly ill-attended & fruitless. All of Karen's phonecalls to clubs & such-like places to try to set up UNCERTS, SO-CALLED WHATEVERS, & such-like had been unreturned. Given these circumstances, I proposed that we dub the festival the 1st NON-EXISTENT INTERNATIONAL NEOIST APARTMENT FESTIVAL IN THE YEAR 000 worth travelling over halfway 'round the world for. After all, who wants to travel that far just for your ordinary, everyday Neoist Apartment Festival when you can go to the 1st NON-EXISTENT one instead?

It was decided that the Non-Existent Festival would consist of SECRET MEETINGS partially publicized thru messages passed via SECRET HANDSHAKES.]

The Secret Handshake Message for the day had the following:

"Down With the Down-Under Neoists! Tired of Neoists PISSING IN YOUR GENE POOL? Crash Their 5th Secret Meeting of Their Stupid 1st Non-Existent International Neoist Apartment festival in the Year Zero Zero Zero @ Victoria Square @ 1:00PM Saturday March 25th & Show Them What's What!".

What wasn't mentioned in the above was that this was the starting point of Adelaide's 1st "Reclaim the Streets" (although at least 1 similar event had previously occurred) which was also being coorganized by Karen Eliot. At the "Reclaim.." the final Secret Handshake Message read:

"Due to Hostile Pressures put upon Neoists by Anti-Neoists all further Secret Meetings of the 1st Non-Existent International Neoist Apartment Festival will be postponed 'til further notice."

This also had the 6 O'Clock symbol on the left & the 1 O'Clock symbol on the right. I had both of these symbols painted on my forehead in the same positions. In at least 1 of the evening tv 'news' reports the 6 O'Clock symbol was clearly visible on my head as I stood behind 1 of the cops who tried to stop the "Reclaim.." (unsuccessfully). Bird-E gave etta & me a typed piece of paper that had been given to him by someone connected to the guy who'd written it who doesn't have computer access & who rarely leaves his room. This paper was written as if it were from a government secret police agency alerting other branches to the presence of the Neoists & the Anti-Neoists & to their/our strategies of self-opposition & proposed a cooptation tactic involving the forming of yet another group. This was articulately written & clearly furthering the spirit of what we were doing. I put it in my pants' back pocket & later accidentally washed the pants & destroyed it. The moral obviously being "Never Wash Your Clothes."

Vaudeo quasi-documentation of this day has etta reading from the text as follows:

"Australian Security Intelligence Organization

[Melbourne Address]

Dear Sir,

It has been brought to my notice that a dangerous political event known as the 1st Nonexistent International Apartment Festival is due to occur in Adelaide on March 25th, 2000. The exact location is as yet unknown but we are preparing the Tactics & Rescue Force to deal with the problem. To cope with the Neoist/Anti-Neoist threat, I've decided to set up a parallel organization: the Post-Anti-Neoist Front. This'll be designed to divert the thrust of radical activity away from its present course.

This group will use similar publication material as the Neoist/Anti-Neoist Fronts. Use of the names of leading figures in these groups should guarantee that supposed radicals will join our parallel organization. Already we have devised alogans similar to those of our rival groups: Lemmings for the Revolution! Also a Post-Anti-Neoist Anthem: "You put your

{at this point the shot is abruptly cut off - perhaps accidentally. The Anthem seems to be to the tune of "The Hokey-Pokey"}

[etta & I left that day to visit the "Keepers of Lake Eyre" Anti-Uranium Mining Camp in the outback.]

- recollections from tENTATIVELY, a cONVENIENCE

 

288. Unknown Neoist Bust Installation Ceremony

- at the south wall surrounding Government House, Adelaide, Australia

- Wednesday, April 5, 2000

- There had been e-mail discussions for about 15 months between people in several countries about having an Adelaide-based Neoist Apartment Festival. etta cetera (see most of the entries from 212 on - mentioning etta cetera & Rita Rodentia) & I flew to Australia originally motivated by the intention of participating in this hypothetical festival - even though we 'knew' from correspondence that it had no substantial basis. The following description, & all other entries relevant to this festival, are excerpted from:

 

A Report on the 1st Non-Existent International Neoist Apartment Festival

in Adelaide, South Australia

from Monday, March 20th, 000 'til Saturday, March 25th, 000

(With additional action on Tuesday & Wednesday, April 4 & 5, 000)

written by tENTATIVELY, a cONVENIENCE

 

[etta cetera & I arrived in Adelaide on Sunday, March 19th & were met at the airport by festival conspirators Karen Eliot & Jen. I never saw Jen again in connection with any neoist activities. A vegetarian barbecue had been proposed for later that day as a festival planning session but that seemed unlikely to happen so the main event of the day was a visit to the former Adelaide Gaol where the Tap 000 Theatre was scheduled to perform (amongst others) & where I was scheduled to UNCERTIZE & to screen a video version of "Bob Cobbing".

Few, or no, VAUDIENCE members arrived, my sampler wouldn't work, the Tap 000 performance was cancelled, The Band That Couldn't Plough Straight played, & etta & I were severely jet-lagged, but I managed to stay awake long enough to screen "Bob Cobbing" anyway to a not-completely rapt small group.

Throughout this 1st day, it had become obvious that there was little or no interest in the long-awaited 1st Australian Neoist Festival that etta & I had been planning to attend for over a year & that we'd travelled over halfway around the world for (having taken the long way via Malaysia). All of Karen's attempts to organize planning sessions had been fairly ill-attended & fruitless. All of Karen's phonecalls to clubs & such-like places to try to set up UNCERTS, SO-CALLED WHATEVERS, & such-like had been unreturned. Given these circumstances, I proposed that we dub the festival the 1st NON-EXISTENT INTERNATIONAL NEOIST APARTMENT FESTIVAL IN THE YEAR 000 worth travelling over halfway 'round the world for. After all, who wants to travel that far just for your ordinary, everyday Neoist Apartment Festival when you can go to the 1st NON-EXISTENT one instead?

It was decided that the Non-Existent Festival would consist of SECRET MEETINGS partially publicized thru messages passed via SECRET HANDSHAKES.]

We returned to Adelaide on Saturday, April Fool's Day. On Tuesday, April 4th, we assembled the Unknown Neoist Bust Mold sections & began to pour the hydrostone & plaster cast. This continued on Wednesday, April 5th, & Karen, Robyn, etta, & I took the bust to its intended new home along the North Terrace road by the Government House walls & dug a hole in the ground near the busy sidewalk/bus-stop where we planted it atop its post. A laminated text panel underneath 'explained' it thusly:

THE UNKNOWN NEOIST

The Unknown Neoist is a transparency sharing a garden plot with the Unknown Solderer. Free to cum & go in the Dreaming, they A&B Roll both Normal & Original as it suits their leisure. We are gathered here today to set our rightful place at the table of the elements.

- a composite gone-bust authorized by the honorable so-&-so

I played sound effects with the player belt, we flamed steam irons & read the text aloud. People stopped & watched us & read the text & asked us questions. When we were done, we drove around the block & vaudeoed the strip of busts culminating in our own. As we passed a guy reading the panel, I shouted out: "Neoism's a town with a population of 12 with a bar in it!" (my new favorite definition of Neoism - inspired by having visited the town of William Creek between Lake Eyre & Coober Pedy in the outback). The man turned around & looked at us thoroughly perplexed & we drove off.

- recollections from tENTATIVELY, a cONVENIENCE

 

289. Hard Listening

- Musician's Club, Melbourne, Australia

- Sunday, April 9, 2000

- The "Hard Listening" series is a series of "new music concerts" (or some such) organized by Aemon Sprod every Sunday night at the Musician's Club. I had asked for a video projector but Aemon was unable to provide one so I had to change my plan at the last minute. 1st I screened 2 16mm films of mine: "Diszey Spots" & "How Orgone Cinema Treats Its Visiting Filmmakers". This was followed by my walking thru the audience whistling (without any announcement that this was part of the presentation) for a few minutes. I reached my electronics & started playing a whistling sequence & then started playing other sounds & my film "Subtitles (16mm version)" was screened. I was playing a DH-100 Digital Horn, a Mirage Sampler/Sequencer, a Kawai K1m wave-table synthesizer, a Multi-Verb f/x unit, a MIDI-Patcher, 2 CD Players, & 3 Mixers. The CDs being played were made especially for uncertizing purposes & consisted of miscellaneous s/f/x & such-like meant to be played in shuffle mode + all of my sequences in various versions, etc.. After "Subtitles" ended, I was joined by Warren Burt on laptop while my 16mm film "Funny Farm Summit Meeting" screened. Warren started this section by playing a sample saying: "Jack, that organ over there looks like it requires a jet pilot's license to operate it. Who's the musician in the family?". I chose to begin with this sample that Warren had recorded because it seemed to've come from a kitsch culture source similar to ones that the Funny Farm contained in the thousands & because Warren & I were playing with a large amount of technical resources at our control. Warren & I had rehearsed once for this gig but this was our 1st public presentation together. Our portion of the night ended with our wandering into the audience whistling while one of my whistling sequences played again.

All of the footage shot in Australis during this tour with Warren Burt in it is on my onesownthoughts YouTube channel here: https://youtu.be/TiCYlcBm5nM , this entire Uncert starts here: https://youtu.be/TiCYlcBm5nM?t=51m5s , the rehearsal for it starts here: https://youtu.be/TiCYlcBm5nM

- recollections from tENTATIVELY, a cONVENIENCE

 

290. Slime Detector

- Liberal Party Convention, Melbourne, Australia

- Friday, April 14, 2000

- etta (see most of the entries from 212 on - mentioning etta cetera & Rita Rodentia) & I had made contact with various political mischief makers (Emile, Andrew, Alex, & Adam) in Melbourne by this point & we agreed to meet at the Liberal Party Convention to protest the usual shit. We'd agreed that etta & I would make a Slime Detector to point in the direction of the Liberals to show just how highly they rate in that area. Just as with the United States, the word "liberal" has lost any meaning of "open-minded" that it may've once had in Australia. Instead, it's been totally usurped by the usual bunch of political greedy power-mongers who're trying to open up Aus to drastically increased uranium mining & who routinely give the shitty end of the stick to Aboriginals whilst rolling out the ole bribery & kickbacks red carpet for multi-national corporations.

In preparation for this anti-liberal protest, we went to the home & studio of Warren Burt's friend & assemblage artist Malcolm Ellis where Malcolm helped us put together a Slime Detector that could be worn over the torso. On its back there was a stick meter that had 2 extremes: something like "truth" at one end (with a light-bulb) & "slime" at the other end (with a crud-covered rag). On the front it was labelled "Slime Detector". From the side came a hose with the 'detector' on the end that was meant to be pointed at the suspected slime in question. We'd intended to make the meter moveable on the back so that when we pointed it at the slimy liberals people could see the meter move to the maximum slime position but we had to settle for just leaving the meter in the slime position.

Meanwhile, Warren & etta stuffed vegan capsules with "antidotes" to neoliberalism which consisted of what we might call Jewish Disses: "Neoliberalism, Schmeoliberalism", "WTO, Schmubble-UTO", "Howard, Schmoward", etc.. They wrote about 50 of these on small pieces of paper & stuffed the capsules with them. The "Howard" of "Howard, Schmoward" was (is, as of this writing) the Prime Minister of Aus & in the liberal party & an attendee of the convention.

When we arrived at the protest we found one of our partners in slime detection, Andrew, writing similar Jewish Disses in chalk on the sidewalk. Much to our surprise, we also found that the official organizers of this protest, Earth First, had ALSO coincidentally organized around the theme of "SLIME"! They were prepared with buckets of some green substance that was meant to represent toxic waste & many were wearing white overalls with anti-nuclear symbols on them. A crowd in excess of, perhaps, 100 people gathered both across the street from the Convention Center & directly on its sidewalk where the usual array of speeches (blessedly short) & chants were sounded & banners & signs were displayed. etta handed out our 'antidotes'.

Someone wearing a Howard mask pulled up in a car & was 'given his toxic waste back' when he stepped out of it by having the buckets of green slime dumped over him. Our Slime Detector was going wild. A banner was dropped off the side of a nearby bridge & we blocked traffic for a while.

some preparation for this can be witnessed here: https://youtu.be/TiCYlcBm5nM?t=1h37m51s

on my onesownthoughts YouTube channel here: https://youtu.be/sppHtXbLKvQ

- recollections from tENTATIVELY, a cONVENIENCE

 

291. Lecture/Demo

- The Centre for Studies in Experimental Music and Performance, Melbourne, Australia

- Saturday, April 15, 2000, 6:00-9:30PM

- This presentation more or less marked the inauguration of this Centre run by Warren Burt (see entries 287 & 288). It happened in his apartment in front of a surprisingly attentive audience. Warren's place has a small porch off of the dining room. When people arrived, I was under a blanket (or some such) out of sight & wearing my player belt (see entry #212 for a description of this) which was playing 2 sound effects tapes - the volume of each of which I was manipulating so that there was an element of live mixing. Given that my vision was blocked by the blanket, I'm fairly, but not entirely, sure that no-one came out onto the porch to investigate the source(s) of the sounds that I'm sure they could hear. After about 20 minutes of this, when I was sure that the majority of the anticipated attendees were present, I proceded to crawl (still under the blanket & still with the sound effects playing) in thru the doorway & in the direction of the living room - where I was planning to introduce the lecture. Since the space was crowded, people had to move out of my way to accomodate my motion. Again, I couldn't see them, so it was a matter of clumsily navigating in the dark. When I reached my destination, I removed the blanket, turned off the tape players, & Warren introduced me. What followed was an almost archetypal 'Mad Scientist Didaction' insofar as audio-visual aids were used to drive home various perverse didactic points. The majority of the prepared audio-visual materials came from 80 slides (the slide-show prepared for entry 272), cassette & vaudeo tapes, Lps, & Cds. The following list (a version of which I worked from during the lecture) gives a crude idea of the sequence:

s/f/x under blanket

slide: Mad Scientist {talk about context}

slide: d composer

{play "dadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadada" off of the "Usic - -1" LP & then an excerpt from "Reintegrated Experiments in Disintegrating Language" from my CD version of it}

slide(s): Sound Thinker -> 2 B OAR KNOT 2 B {-> Mimesis (see 217)}

slide: T.Ore Signature {phone stations -> "Accumulation" CD}

slide(s): A.G.A.I.! {relevant selection off of the "Usic - -1" LP}

slide: London APT Brain {1st booed usic (see 65) off of the "Usic - -1" LP}

slide: busking unit {relevant selection off of the "Usic - -1" LP -> Cassette Mythos book -> "..Zippers.." off of "Cassette Mythos" CD}

slide: Small Nondo / Apex Roto-Zither

-> vaudeo: John Berndt instrument demo from "H.O.M.E. Encyclopedia"

-> "Official" LP

-> remake of "Official" LP by Colin Hinz on "Usic - -1" LP

-> "Navigating Usic - -1.." {off of the "Low Classical Usic" CD}

-> "Melody" {read relevant section from MUSICWORKS magazine then play relevant section from MUSICWORKS CD}

-> "Triple-S Variety Show - Volume 1" cassette excerpt

-> Volunteer's Collective XXII selection

-> "Bogus Piano Concerto" {mention the concept of navigating; read about "Low Classical Usic" from "Street Rat #1"}

-> Speech Synthesis Vocabulary #6 (augmented)

slide: Pictogrammeting {play "Lost in Translation - Part 8" - with Ben Opie}

slide: Anonymous Family Reunion (see 242)

{Volunteers Collective "Gongs" CD - CircumSubstantial Playing}

-> vaudeo: Anonymous Family Reunion beginning

-> "Background Movie #1"

slide: N.A.A.M.C.P.: eyebrow tattoo {"Year of Sundays" cassette}

slide: A Year of Sundays Release Party

"Shuffle Mode" 'performed' as reading

- recollections from tENTATIVELY, a cONVENIENCE

 

[292. Uncert

- Synesthesia Record Store, Melbourne, Australia

- Saturday, April 22, 2000

- Warren Burt (see entries 287, 288, & 289) had arranged for me to play at this record store. As with 287, I had asked for a video projector - but Mark Harwood, the store's owner, was unable to provide one. He seemed to also be unable to provide even a sign announcing that I would be playing. Since I was playing for free, I was hoping for a little more effort on his part. I had asked him when I should come to start setting up & I arrived promptly at the time. Unfortunately, Mark seemed to have a little difficulty with my setting up that early. In the VERY SMALL SPACE, one of the few customers in the space insisted on being in my way throughout the entire time as he insisted upon playing excerpts from every record in the store. Whether he ended up buying any of them I'm not sure. He sure liked those "cool covers" though - even if he didn't have any ideas beyond imbecility about music. My sampler/sequencer wasn't working & one of my CD players had ceased to work & the one I'd borrowed from Warren would only play 2 of my CDs. In other words, this whole thing would've been completely depressing EXCEPT that Warren loaned me his Pitch-to-MIDI converter. The result was my getting a chance to experiment in ways that I'd never been able to before. The gig was rescued. I started off by playing a CD version of my "Mood Elevator Uzak.." sequence fed into the converter to control my Kawai K1m wave-table synthesizer. Concrete Mixing galore. When it was over I was still quite happy to get the fuck out of Dodge. All of the CDs for sale there were too expensive for me & Mark sure wasn't offering to give me anything for free. I'll never play there again - that's FER sure!]

- recollections from tENTATIVELY, a cONVENIENCE

 

293. Money Against Capitalism

- the Streets, in front of the Stock Exchange, at the 8 Hour Workday Monument, etc, Melbourne, Australia

- Monday, May 1, 2000

- May Day is a worker's holiday created in honor of the struggle by political activists in the late 19th century in the USA to get the 8 hour workday instead of the 12 to 14 hours that exploited workers were typically forced into. This was achieved at great sacrifice & effort. The rich don't give it up easy now do they? In Chicago, some of the anarchists primarily responsible for agitating for this were executed in a frame-up job connected with a bombing of police who were using the usual brutality to break up a demonstration. These anarchists became known as the Haymarket martyrs. As I recall, 4 of them were hung & one of them commited suicide with dynamite in his mouth - rather than allow the state to kill him.

In Australia, this holiday is "officially" "celebrated" on a Sunday so that workers don't get off work. Ain't that some shit, yo?! THIS May Day protest, however, was celebrated on a Monday - when the 1st of May actually fell. etta (see most of the entries from 212 on - mentioning etta cetera & Rita Rodentia) & our fellow activist Doyle & another woman whose name I forget & I had made a slew of props out of cardboard for this. There were figures of businessmen with $s for eyes, pro-environmentalist & anti-globalization signs, a "I reckon it's time for revolution" speech bubble, etc.. What etta & I were most excited by were our new Money Against Capitalism outfits. etta was dressed as a coin - with her head where the queen's would be & with text that read "Queen E-Lousy-Debt" around the rim. I was a $10 note - with my head where the male's head would ordinarily be. We shouted various things like "Money Against Capitalism!" & "We're tired of being in the hands of the few!". etta shouted that she wanted to be back in the fountains again. Both of us expressed how tired we were of being locked up in Swiss bank vaults. We wanted to be out in the streets partying!

We started at the main post office where the usual speeches that have the rabble-rousing quality of Muzak were made. Then we marched to the stock exchange where etta & I & our friends shouted the Jewish Disses (see entry 288) & various other spontaneous slogans far from the "Hey Ho" mold. One marcher broke into a lovely cannibalistic song proposing recipes made from burning the whole capitalistic lot. We arrived at the Stock Exchange, which was protected by a line of police on horses, & speeches were made in front of it. I threw in my speech-makin' 2¢ worth as a representative of Money Against Capitalism. Thus ended the socialist-planned protest.

Anarchists proposed marching further to the 8 hour workday monument. This was put up "for a vote". Why, I'll never know. The response seemed to be enthusiastic enough & away we went - receiving very little resistance from the cops. On the last leg of the journey, they didn't even bother to follow us. When we arrived at the monument, it was felt by a minority that it would be a good idea to block the road. After all, there weren't even any cops around to prevent it. I was part of this minority. Reclaim the Streets!

A group of about 15 of us blocked traffic in 2 of the 3 lanes & got into various interactions with drivers while the rest sat around on the grass - picnicing, I suppose. etta & our allie, Lochlan, danced around a limo & other vehicles. Our friend from Ska TV, Ameriko, & our future allies, Michael & Matt, sat in the street & kvetched about how lame they thought the majority were being for not participating. I shouted out "Honk if you hate capitalism!" & other such ploys intended to recontextualize any driver hostility. Surprisingly, many drivers seemed to honk in solidarity with us. A psychotic road-raged few acted as if they'd run us over if we didn't move. No-one was hurt & a group of us adjourned to a bar for some alcoholic celebrating.

- on my onesownthoughts YouTube channel here: https://youtu.be/5GrlEM3uvMg

- recollections from tENTATIVELY, a cONVENIENCE

 

294. Lecture

- Australian National University, Centre for Arts & Technology, Canberra, Australia

- Thursday, May 11, 2000, 5:00-8:00PM

- This was mostly a repeat of my presentation at The Centre for Studies in Experimental Music and Performance in Melbourne (it had also been arranged by Warren Burt - see 289) only this time in a big room with more facilities & an audience with less endurance (or time) who gradually trickled away until there were only 4 left. The evening began with the projection of my "Where We're" trailer while I crawled under the blanket. The projection of my 16mm film "Bob Cobbing" was added during the longest section without slide changes: between the Small Nondo slide & the Pictogrammeting slide. At least 3 sections were dropped out in the interest of shortening the night: John Berndt's instrument demo from "H.O.M.E. Encyclopedia" vaudeo, Volunteer's Collective XXII selection "Lost in Translation", & "A Year of Sundays" (which had been intended to be substituted for the Volunteers Collective "Gongs" CD). The following list (a version of which I worked from during the lecture) gives a crude idea of the sequence:

s/f/x under blanket {simultaneous with "Where We're Trailer #2"}

slide: Mad Scientist {talk about context}

slide: d composer

{play "dadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadada" off of the "Usic - -1" LP & then an excerpt from "Reintegrated Experiments in Disintegrating Language" from my CD version of it - which continues to play simultaneous with my talking}

slide(s): Sound Thinker -> 2 B OAR KNOT 2 B {-> Mimesis (see 217)}

slide: T.Ore Signature {phone stations -> "Accumulation" CD - which continues to play simultaneous with my talking}

slide(s): A.G.A.I.! {relevant selection off of the "Usic - -1" LP - which continues to play simultaneous with my talking}

slide: London APT Brain {1st booed usic (see 65) off of the "Usic - -1" LP - which continues to play simultaneous with my talking}

slide: busking unit {relevant selection off of the "Usic - -1" LP -> Cassette Mythos book -> "..Zippers.." off of "Cassette Mythos" CD - which continues to play simultaneous with my talking}

slide: Small Nondo / Apex Roto-Zither

"Bob Cobbing" film shows simultaneously up 'til the "Triple-S" section

-> "Official" LP

-> remake of "Official" LP by Colin Hinz on "Usic - -1" LP

-> "Navigating Usic - -1.." {off of the "Low Classical Usic" CD}

[I may've forgotten this part]

-> "Melody" {read relevant section from MUSICWORKS magazine then play relevant section from MUSICWORKS CD}

-> "Triple-S Variety Show - Volume 1" cassette excerpt

-> "Bogus Piano Concerto" {mention the concept of navigating; read about "Low Classical Usic" from "Street Rat #1"}

-> Speech Synthesis Vocabulary #6 (augmented)

slide: Pictogrammeting

slide: Anonymous Family Reunion (see 242)

-> vaudeo: Anonymous Family Reunion beginning

-> "Background Movie #1"

slide: N.A.A.M.C.P.: eyebrow tattoo {"Year of Sundays" cassette}

slide: A Year of Sundays Release Party

"Shuffle Mode" vaudeo transfer of filmstrip version

- recollections from tENTATIVELY, a cONVENIENCE

 

295. Anarchist World This Week

- 3CR Radio Station, Melbourne, Australia

- Wednesday, May 17, 2000

- Our friend Michael (see 291) is the sidekick for this radio program hosted by Joe. Michael invited etta (see most of the entries from 212 on - mentioning etta cetera & Rita Rodentia) & me to be guests. When we met Joe before the program started, he immediately tried to arouse an 'attitude' in us by agressively calling us "clowns" & "Americans" & saying that he hated clowns & Americans, etc.. At 1st we were a bit taken aback but it didn't take long to figure out what his game was. We were scheduled to come on during the middle of the program so etta & I conspired a bit beforehand. When we entered the studio, I had a camcorder on my shoulder & started putting Joe on the defensive before he had a chance to do the same to us. Every crack he tried to make I countered with accusations about the authenticity of his anarchism. He asked what I had on my shoulder (the camcorder) & I expressed my shock at his not knowing that it was something to steal his soul with so that I could edit it & use it against him.

Neoism & Low Classical Usic were discussed. etta & I explained Money Against Capitalism (see May 1, 2000 again) & put forth the idea that everyone should have their picture on the money & that everyone should collect them all. Of course, no-one should have to pay for this. To show Joe that Money Against Capitalism has already implemented this plan, we showed Joe 2 $50 notes with our pictures on them. Since the listening audience, obviously, couldn't see our proof, we described what they were missing. This latter was embellished by fake astonishment at some sort of dramatic physical transformation that Michael was going thru. A portion of track 8 from our RATical RATio - pRAT 1 CD, "Station Identification: For Radio Play Only", was played while I read the relevant section from the accompanying issue of the STREET RAT (#2). We departed with me shouting "You'll never see us alive again!" - &, as far as I 'know', Joe never has.

- on my onesownthoughts YouTube channel here: https://youtu.be/-yi9PTR99xE

- audio from this is track 3 on the Internet Archive here: https://archive.org/details/Radio2000

- recollections from tENTATIVELY, a cONVENIENCE

 

296. Tantrum

- Planet Cafe upstairs, Melbourne, Australia

- Thursday, May 18, 2000, 8:30-11:30PM

- This was a collaboration organized by Steven Ball. It was advertised as a "non-stop experimental film video sound cabaret". The participants were myself, etta cetera (see most of the entries from 212 on - mentioning etta cetera & Rita Rodentia), Steven, Warren Burt (see entries 287-290, & 292), Dirk de Bruyn, Virginia Fraser, Paul Rodgers, & Lee Smith. Most of these people have been making films &/or videos for a long time. Many have extensive experience with direct-on-film films & with multi-projector installations & "performances". This collection of skills added up to one the most satisfyingly complex sound-&-visuals projection events I've ever been part of.

The evening was complicated somewhat further for me by my being exposed to Chlorine Gas Poisoning. This lead to a visit to the hospital prior to the evening's presentation. It was a highly unpleasant experience that made me have a new sympathy for those in trench warfare during 'World War I'. Just imagine: the gas rolls over into the trench, the skin boils off, the throat blisters & the person suffocates. Fortunately for me, I came nowhere close to that but it DID effect my mood for the night.

The main stage is off to the audience's left & has its front cutting diagonally across the rectangular corner of the room - making it a triangle. A smaller stage/storage area is to the left of that & over the front stairwell. Paul Rodgers set up a very large white screen that could be both rear & front projected onto. This stretched across the entire front of the stage & mirrored its diagonal on the other half of the room. I set up a white spandex screen across the front of the smaller stage over the steps - this could also be used for both rear & front projecting. There were 2 video projectors rear projecting - one for each of the 2 halves of Paul's "V"ed screen. These were set so that they projected mirror images of each other - in other words, one was set to compensate for the rear projection by reversing the left-right orientation & the other wasn't. There were one or 2, probably super-8, projectors aimed from the end of the little stage across the stairwell to the wall at the top of the steps. There were at least 3 super-8 projectors behind Paul's screen & at least 3 16mm projectors at audience right set up to project from the front.

Attendees climbed steps to reach the space. At the top, they saw films projected - possibly super-8 loops by Lee. They received a hand-out with a chart that gave the order of the evening:

 

Haarlem

Lee Smith

 

Elwood Evening Improvisations

Warren Burt

 

Janet's Antarctica

Dirk de Bruyn / Warren Burt

 

Bob Cobbing

tENTATIVELY, a cONVENIENCE

 

From Scratch

Virginia Fraser

 

Vegetable States/Leaves / Hairfarmer

Virginia Fraser / etta cetera

 

An Abstract Phase

Steven Ball

 

Transmit

Paul Rodgers

 

The Truth About the Dimensionally Challenged

etta cetera

 

TANTRUM

Since this was intended to be "non-stop", each section flowed into the next - usually with some sort of overlapping projection. Warren played his laptop during both his video, "Elwood..", & during his collaboration with Dirk, "Janet's Antarctica", that followed. Dirk started his multi-projection towards the end of "Elwood..". Virginia's "Vegetable.." showed on the left screen & etta's "Hairfarmer" was screened simultaneously on the right. Paul's "Transmit" continued into etta's "The Truth.." & most of us did something during the final "TANTRUM", etc..

An early version (single-layer) of my 16mm film "Bob Cobbing" had been transferred to vaudeo by projecting it onto a spandex screen which was heavily manipulated to mutate the projection - making it look like it was breathing, eg. This was shot with a video camera with a wide-angle lens from a dramatic angle from below to create a "fish-eye" effect. The resultant transfer looks somewhat like a tv set that's gone biomorphic. This transfer was projected via both video projectors & the sound from it was sent to the PA. The final 16mm version of "Bob Cobbing" (double-layer) was initially projected overtop the audience-left video-projection.

I began playing electronics in addition to the pre-recorded soundtrack from the small stage - behind the spandex screen. I played a CD Player, a Kawai K1m wave-table synthesizer, the DH-100 Digital Horn, etc.. I was wearing the S.P.C.S.M.E.F. killer whale outfit & my severed head hat. etta made my shadow dance on the spandex with a flashlight. I came out from behind the screens & read the S.P.C.S.M.E.F. text (see 253) while etta went to the left video projector & played with blocking its light. In the meantime, at the 16mm projector on the right, Virginia did the same to its projection. The result was that both the superimposed projections had different parts dominate depending upon the positions of etta's & Virginia's hands.

After I finished reading the speech, I went behind the screen & etta got into the killer whale suit & her mask of Ganesa (the elephant-headed Hindu god that etta stars as in our movie "Don't Walk Backwards" that we were then making) & plastic flowers garland & began to dance to an "Official" sequence of the "Worm Charming Usic" CAMU (see various "Official" entries). I made her shadow appear with the flashlight. She crawled under the screen & I followed her out front with the flashlight. Ganesa went into the audience & caressed people with her copious trunk & then returned under the screen.

I started panning the 16mm projection across the full span of the screens - eventually leaving it in the middle of the "V" so that it was distorted by a widthwise stretching. I then returned to the small stage where I returned to playing electronics while etta spontaneously shadow-signed in AMSLAM after the video-projections stopped. Since the vaudeo was shorter than the 16mm (thanks to equipment speed inaccuracies, etc..), the vaudeo stopped considerably before the 16mm so an excerpt from my "Color Bars" was projected followed by the beginning of a pre-finished-soundtrack version of my "Diszey Spots" until the 16mm ended & all were cut off.

In the final "TANTRUM", Virginia discretely projected a super-8 film of hers onto a small area of the lower left screen while my/Monty Cantsin's "Transparent SMILE - Monty Cantsin Performing with White Colours" was projected onto the uppper right of the left screen along with projections from Dirk & Paul. Paul projected a super-8 on the right screen & someone screened video too. Paul used a wonderful projection machine of his creation in the middle. Paul played an analog synthesizer, Warren played laptop, & I played my electronics. I threw a tantrum in the middle of the front screaming "I WANT TO THROW A TANTRUM!, I WANT TO THROW A TANTRUM!" while jumping up & down with my hands in fists - eventually falling to the floor & kicking & finally disappearing under the screen. The evening ended with a dedication to Steven who was leaving Australia soon thereafter for his country of origin (England), possibly for good, after having been active in the experimental film & video scene in Melbourne for many years.

- on my onesownthoughts YouTube channel: https://youtu.be/TiCYlcBm5nM?t=3h16m50s

- recollections from tENTATIVELY, a cONVENIENCE

 

[297. Let Your Freak Flag Fly

- 3CR Radio Station, Melbourne, Australia

- Saturday, May 20, 2000, 6:30-7:30PM

- Michael, our friend who's the sidekick for "Anarchist World in Review" (see 291 & 293), has his own radio program & he invited me to play live on it. Using 2 tape players, 2 CD players, a Kawai K1m wave-table synthesizer, a DH-100 Digital Horn, a Mirage Sampler/Sequencer, a Multi-Verb f/x unit, a MIDI-Patcher, & 3 4-channel mixers; I presented even more Low Classical Usic Concrete Mixing. At the beginning, I explained that Low Classical Usic is designed to remove the ruling class from Classical Music &, at various points, I plugged resistance to the upcoming World Economic Forum scheduled to happen on September 11th, 2000 in Melbourne.]

- audio from this is track 4 on the Internet Archive here: https://archive.org/details/Radio2000

- recollections from tENTATIVELY, a cONVENIENCE

 

298. Conjuring (a.k.a. "Mad Scientist Duet & Sonic Tag Team Wrestling Match")

- Planet Cafe, Make It Up Club, Fitzroy, Melbourne, Australia

- Tuesday, May 30, 2000

- I began by giving a pompous & highly exaggerated speech about the importance of Warren Burt (see 287, 289, & 294) & myself (amplified thru a mike on a mike stand) - giving a history of all the people that we'd supposedly studied with - probably including: Wagner, Harry Partch, Conlon Nancarrow, John Cage, & many others.. The purpose of the speech was to irritain the audience into wishing I'd shut up. This was finally interupted by Warren calling me from a mobile phone to a mobile phone I was carrying. The use of mobile phones was partially inspired by my annoyance at their omnipresence in Australia. I excused myself & answered the phone & then pretended that it was for someone in the audience.

I had a radio-mike attached to the front of my clothes. This mike sent a signal to a pitch-to-MIDI-converter which, in turn, sent a MIDI signal into Warren's laptop computer so that they could activate 4 banks/patches of samples that Warren had patched together. Which bank was activated when was controlled by Warren. All of the banks were organized into 4 pitch ranges meant to be activated by my vocals: a low drone range for the lowest pitch I was capable of (meant to be sounded as a sustained note), my normal speaking voice range, my falsetto range, & my whistling range. The agreed-upon 1st bank had been structured by Warren & myself so that the drone would trigger scat singing either by Eddie Jefferson or an unknown woman; my normal speaking pitches would activate 19 possible words organized so that their pitches ascended in correspondence to the words' alphabetical order. A 2 second delay preceded each of these words so that they could appear as if in conversational response to my own speaking. This 1st patch was drawn from various people's voices & the vocabulary was (perhaps roughly):

 

Conservative

Dawesses ["Dresses" lisped]

Face

Flat out

Function

How will you eat?

Insanity runs in my family.

Kick

On the floor

Organ

Precious

Puritanism

Radio

Rock

Same

Sample

Totally illogical

What's up?

You see

 

My falsetto voice triggered the broadest range of samples & my whistling activated all sine waves (of varying forms: ie: multiple sine waves simultaneously, glissandi, etc..). All of the work done creating these samples was by Warren. Each of these ranges was conceptually mutually exclusive. As such, there were only words in the normal speaking voice range & nowhere else & only sine waves in the whistling range & nowhere else, etc..

Independent of me, Warren had created the other 3 patches without my knowing what the samples in the drone, falsetto, & whistling ranges were as of the time of this presentation. Shortly prior to beginning, he presented me with a list of the vocabularies. Whether these new words had alphabetic pitch correspondences (as with the 1st patch) is unkown to me. These last 3 lists are presented here as they were presented to me & are, therefore, not in alphabetic order:

 

Patch 2: Cinema People

 

Alive

Alligators

Awful Silly

Boys

Capers

Cigarette Lighter

Clothes [male voice]

Clothes [female voice]

Dracula

Good

Guess

Handbag

Have to kill

I feel bad

They eat

Victory

Washstands

Well

Wonder Dog

 

Patch 3: Humphrey Bogart

 

Bad

Drinking your lunch

Cross Examine

Looking

Kid

Rocco

Less

Dying

The-uh

Made

Dreams

'tuff ["Stuff" without the "S"]

Decide

Maybe

Get

Buried

Here

Manners

Myself

 

Patch 4: Vineta's words

 

Abstract

Assertive

Caricature

Complex

Elbows

Eyes

Falsetto

Fast

Gibberish

Gentle

Hysterical

Limp

Nonsequitur

Relaxed

Rhythmic

Shy

Simple

Squirmy

Vehemence

 

The delay time preceding each of these words varied from patch to patch.

When my mobile phone rang & I answered it, I passed it to a member of the audience saying that I thought it was for them. When I made sounds into the radio mike & triggered samples from Warren's laptop patches these were played out from the laptop's speakers into Warren's mobile phone mouthpiece &, from there, to the earpiece of the receiving phone. At this beginning stage, the samples were only faintly audible to the audience coming from the deliberately muffled laptop speaker & from the mobile phone earpiece. After passing the phone to the 1st audience member chosen, I took it back & asked if had been for them - acting confused about what was going on. I then talked into the phone again as if talking to someone & pretended that I'd gotten further info about who 'the call' might be for & then continued to pass the phone thru the audience.

After a few minutes of this, I returned to the mike stand & blithered a bit more. This was subtly interupted by Warren then phoning our friend in the audience Steve Charman's mobile phone. They proceeded to have a fairly ordinary conversation. Steve knew that something was going to happen with his mobile because he'd been asked to bring it but he hadn't been prepped otherwise. His conversation was as if he was trying not to be too loud for fear of interupting the 'performance' he was attending.

Finally, the laptop was plugged into the PA & the triggered samples were loudly audible. I started this part off with saying, in falsetto, something like "I've been having all sorts of technical problems here so I think I need to do some free association." This was meant to prep the audience for my saying words from the vocabularies & then having words from the same vocabularies, but said by different people, be sounded shortly thereafter. The majority of the words I spoke from this point on were drawn from the patch vocabularies. I both stayed near the standing mike so that my vocal sounds could be occasionally amplified along with the samples & wandered thru the room so that they would be most audible to be people in my vicinity. It was probably clear to the audience that my vocals were activating the sounds but exactly how it was being done would've been difficult to determine. Two studio recordings of this last section were later recorded.

At one point I wandered down the front steps of the Planet Cafe & into the restaurant area below just as 2 people looking for the 'performance' entered the front door. I was cupping my hands around the radio mike & making a variety of sounds & saying vocabulary words as I walked thru the restaurant & then up the back stairs to the performance space again. I was later told by the 2 people who entered at this point something like "we knew we'd found what we wanted when we saw you doing that & then went upstairs & realized that your vocals were somehow connected to the samples." The person who told me this was quite enthusiastic. To people in the restaurant unaware that a 'performance' was happening, I might've seemed like a mysterious 'deranged' person muttering to myself.

At other points, I wandered thru the audience putting the radio mike in front of audience members' mouths to try to get them to attempt to trigger samples themselves. At least one person was loath to do so, presumably shy about her abilities as a performer, so I took back the mike & said "Just say NO to microphones!"

Given the technical vagaries of this process, the pitch-to-MIDI conversion (etc) was hardly 'perfect'. The converter (with, perhaps the 'assistance' of the radio mike's somewhat inaccurate transmission, etc) didn't necessarily 'interpret' my attempted pitches as what I intended them to be & there was a tendency for systemic feedback & other difficult to control extraneous pitch-to-MIDI info resulted in a somewhat less clear sequence & mix of samples than what Warren & I were aiming for. Nonetheless, the whole process was a stimulating CONJURAL process in the sense that my 'chanting' into 'thin air' brought forth 'spirits'.

- on my onesownthoughts YouTube channel: https://youtu.be/TiCYlcBm5nM?t=3h20m32s

- recollections from tENTATIVELY, a cONVENIENCE

 

299. On 3RRR with John Safran

- 3RRR Radio Station, Melbourne, Australia

- Wednesday, May 31, 2000, 8:50-8:55AM

- John Safran has made at least 2 pilot tv shows that demonstrate a remarkable genius for "poetic terrorism" against stupidity & dishonesty: "John Safran, Master Chef" & "John Safran, Media Tycoon". In the former, eg, in the midst of a normal appearing cooking show where he demonstrates a recipe, he cuts to a slaughterhouse scene where we're shown how to kill & butcher the cow & then cuts back to his kitchen set without breaking out of normal tv personality. In the latter, eg, he targets the host of the so-called investigative journalism of Ray Martin, the host of Australian tv's "Current Affairs", & allows Ray & his wife to show their true nature when the tables are turned on them. As Ray's wife says, fortunately on camera, "We've got friends in high places!". Yep, & the scum rises to the top. Well, as things would typically have it, Safran's tv career seems to've been canned because of its honesty & direct-action type humor, but he does do an early morning talk radio show on Triple-R from 6 'til 9. When etta & I tuned it in on this morning, he was cohosting it with 2 other people. We don't know if that's the typical situation or not.

Having a great admiration for Safran's actions & media wit, etta (see most of the entries from 212 on - mentioning etta cetera & Rita Rodentia) & I wanted to meet him & work him into our movie in progress, "Don't Walk Backwards", & we didn't want it to be a banal encounter. So, a plan was worked out, & I phoned the station & John answered. An abbreviated version of our exchange is as follows: I said: "I'm tENTATIVELY, a cONVENIENCE & I'm a mad scientist, d composer, sound thinker, thought collector, as been & I'm travelling with my friend Ghanesh & we're making a movie & we'd like to come in & have Ghanesh ask you 2 important questions on air." JS: "Are you a serial killer? I mean, if you are, I'll still let you in but I just thought I'd ask 1st." Me: "No, I'm not a serial killer but I am a psychopathfinder." Safran asked his co-hosts if it was ok & it was suggested that we arrive right before the program's end & away we went. When we arrived, we were buzzed into the station & we wandered until we found the studio since no-one was around to guide us at 1st.

etta was wearing the full Ganesa gear of killer whale suit & bright-pink Ganesa head & garland. I was wearing my player-belt & carrying the camcorder & 3 black-&-white stills from "Don't Walk Backwards" that I'd taken to scattering around shots as a formal device to create a greater interconnectivity between scenes. We walked into the studio, I threw the photos down in front of John & turned on some sound effects on the player-belt. As I recall, a laughing woman was one of them. Ganesa went to a microphone & asked John on air 2 questions that run thru the Ganesa interviews in the movie: "How do you undermine reality maintenance traps?" (see 39) & "How do you rearrange the power structure of the universe?". These questions were also asked, at different times, of people at the Goolongook Forest Blockade, Peter Simpson (a biomedical researcher partially responsible for a cure for the flu), & the science-fiction writer Damien Broderick. JS responded by saying that he didn't have any answers.

His male cohost said to me aside that this sort of thing happens to them every day to which I replied "That's why we're doing it - to reinforce your sense of reality." Of course, such things DON'T happen to them every day & Ganesa & I were a bit disappointed that they didn't have more wits about them. As we left, I exclaimed, as in our radio appearance on "Anarchist World This Week" (see entry 293), "You'll never see us alive again!" to which John replied something like "Ok." While we tried to figure out how to get out of the station (the door that we'd entered thru was now locked), we heard the female cohost say something about "still recovering from that bad acid trip with the pink elephant." Ah, yes, when in doubt, contextualize an unusual experience as a drug thing & get a few pathetic NYUKs out of your burn-out audience. Oh well, WE LOVE YOU ANYWAY JOHN SAFRAN!

- on my onesownthoughts YouTube channel here: https://youtu.be/WKRioI7A2U

- audio from this is track 5 on the Internet Archive here: https://archive.org/details/Radio2000

- recollections from tENTATIVELY, a cONVENIENCE

 

300. Late for Breakfast

- 3D Radio Station, Adelaide, Australia

- Thursday, June 8, 2000

- etta (see most of the entries from 212 on - mentioning etta cetera & Rita Rodentia) & I'd been invited to promote our upcoming 2 Adelaide presentations & to otherwise shoot the shit back on Adelaide's beloved community radio station (see entries 281 & 282). The 2 hosts were Andrew Bunny & Suzy Ramone. Andrew had actually, GASP!, done research on us & had read an early version of the "Report on the 1st Nonexistent International Neoist Apartment Festival" scattered between entries 281 to 286 here. I don't remember much about this at the moment but I do remember etta & I discussing our movies in the flow of Andrew talking about Woody Allen. We played a bit of the CD of studio versions of "Conjuring" (see May 30, 2000) & I explained a bit of that technically.

- audio from this is track 6 on the Internet Archive here: https://archive.org/details/Radio2000

- recollections from tENTATIVELY, a cONVENIENCE

 

301. A Night of Low Classical Usic

- Rhino Room, Adelaide, Australia

- Thursday, June 8, 2000

- Karen Eliot organized this as somewhat of a continuation of the Neoist activities in Adelaide from 2 months before (entries 281 to 286). Apparently, our previous time spent there had aroused more interest in Neoism than our original anticipated arrival had so there were a few new participants this time. A different Karen Eliot kicked off the evening with a prepared guitar drone improvisation. This was followed by yet another Monty Cantsin playing guitar while a friend of his sat at an on-stage computer playing solititaire - apparently to fake out the audience into thinking that he was playing some of the music on it. It was eventually used for such purposes. Monty performed a "classic rocker" using neoist buzz words. An attempt was made to get the audience to renounce Neoism - to no avail since most of them had no idea what he was talking about. He capped off his set by shooting at the audience with a cap pistol & then pretending to cap himself.

etta (see most of the entries from 212 on - mentioning etta cetera & Rita Rodentia) screened "Hairfarmer" & I screened "Diszey Spots", "Department of Failures", "Background Movie #2", & "Air Drops". This was followed by my playing electronics. I ended my set by playing the soundtrack to the slide show version of "Shuffle Mode" - without the visuals. This begins with:

"Into your hopeless un- life. You can find the elements narrowing to nothing - realizing experience is shuffling thru the dreary not- so- free limits of no escape from dumb fate. The very order of nothing's meaning, what you think, is like your death. Usual things, that you thought you knew, reprogram around discombobulate being when you try to make sense."

& ends with:

"You 'know' your life is not hopeless. To experience the free- dom, reprogram the order of things. Try shuffling around the elements of your being. Escape from death- like dreary limits - realizing nothing's fate. Make what you thought is narrowing you to nothing into new, very un- usual meaning. Find sense when you discombobulate so that you can think thru."

The reading was mixed with various other driving sounds to try to get the audience's attention. As far as I could tell, no-one was listening. When I ended there was no audible reaction from them. Conversation continued as before. No-one applauded, no-one booed. Nothing. Finally etta loudly acknowledged my ending & the audience joined in. Somethingland finished off the night with a guitar noise improv with ranting behind a screen onto which video was projected. I got paid less than the soundman, none of the other 'performers' were paid at all. Fortunately, the next night's screening organized by Dick Dale was more enthusiastically received. Bye bye Adelaide!

- recollections from tENTATIVELY, a cONVENIENCE

 

302. Satanic Liposuction, Neoism?!, & YOU!!

- Melbourne Super-8 Group, Erwin Radio Theater, Melbourne, Australia

- Tuesday, June 13, 2000

- This was the world premier of the one-projector version of the above-named super-8 film. A 5-projector version had been previously presented in Pittsburgh (see 268). These are the only 2 screenings of this epic to date. etta (see most of the entries from 212 on - mentioning etta cetera & Rita Rodentia), in her role as Ganesa, sat in the front audience right of the theater at a table across from our friend Lotti Stein, a tarot reader & technician at the community radio station 3CR. Since there was only one projector, I decided to play with the reel-change interruptions by having Lotti give Ghanesh a tarot reading while the projectionist rewound each of the reels after they were shown. I wore my player-belt & brought up s/f/x during the last 4 reels. A portion of the soundtrack was provided by a CD I'd burned of soundtrack contributions primarily from John Berndt (Baltimore), Gen Ken Montgomery (New York City), & Florian Cramer (Berlin). etta & Lotti had a radio-mike & I had another. Throughout the film I improvised a narrative to thread the diverse collaborative images together. The idea was for etta to turn on the radio mike & light at Lotti's & her table during the reel changes & for etta to ask Lotti "How to undermine reality maintenance traps?" (see 39) & "How to rearrange the power structure of the universe?" as a way of focusing the tarot readings that followed. At one point Lotti asked something like: "If you want to undermine reality, why are you asking the tarot cards about it?" - the implication being, as I understand it, that the tarot represents "reality" & is, therefore, an inappropriate tool.

- recollections from tENTATIVELY, a cONVENIENCE

 

303. Puppetistas Press Conference

- Ministry of Puppetganda, Philadelphia, us@

- Friday, July 28, 2000

- The Puppetistas were/are a loose-knit group of Puppeteers & fellow travellers who had rented a huge warehouse called the Ministry of Puppetganda in West Philly to enable large-scale puppet-making in preparation for resistance to the Republican National Convention. Several HUNDRED puppets were made - probably by at least 100 people. These included 137 8 foot skeletons representing every person on death row whose death warrant George Bush, the Republican candidate for president, had signed as Governor of Texas. Each skeleton was to have a condemned person's name on it. These were to be used in demonstrations to drive home the point that Bush is BLOODTHIRSTY. Other puppets & such-like included large peanuts w/ the names of corporate campaign donors carrying bags of money (to show who pays for the Republican Elephant), mice (to scare away the Elephant), jail-bar masks (to protest the Prison-Industrial Complex), & a multitude of other such calculatedly critically pointed symbols. These were eventually destroyed by the police before they could be shown publically. But that's a different story.

A press conference was held at the Ministry for print & electronic media. The idea was to have the conference be given by puppets. I thought this was a great idea & got involved at the last minute as the facillitator. I wore a cardboard 'dollar bill' on my shoulders that Rita Rodentia (see entry 266 & a slew of others) & I had made there the day before as part of our "Money Against Capitalism" project (see entry 291). The 4 Puppetistas were General Mr Sir Pentagon (a man w/ a Pentagon for a head - &, therefore, a hole in his head - representing the Military-Industrial Complex), the Shoddy Elephant (a small sock puppet - representing grassroots organizing & NOT a political party), Dr Monsanto (another sock puppet - w/ teeth that kept falling out - representing 'science' out-of-control & intoxicated by its own arrogance), & the Uber-Sock (a large sock that covered the Puppetista's whole body - the Uber Sock, we're told, was created by Dr Monsanto as an obediant replacement to those troublesome human beings & it NEVER SMELLS - alas, the Uber-Sock was out-of-control & ran amok growling nonsense - Dr Monsanto's attempt to control nature backfired, eh?). Participants ran around dressed as the mice & as the peanuts holding bags of money. A mobile percussion station was played to punctuate the conference. The press arrayed itself. I didn't pay attention to who they were but I'm told that Fox-TV was there & so was C-Span. A print reporter was the only one who could think of any questions to ask. The other reporters are pathetic: ill-informed & uninspired. The puppets stayed in character: General Pentagon puffed his chest (metaphorically) & spouted his ideology. The Shoddy Elephant tried to convey alternative environmentally & socially friendly options, Dr Monsanto tried to control the Uber-Sock as it frustrated his uber-mindedness. The guy from Fox-TV finally asked a question. He wanted to know my name. I told him that that's irrelevant & that we preferred to address issue-oriented questions. He said "Bless you" & left, mid-conference, supposedly telling someone on his way out that this was "the worst press conference he's ever seen." I'm told by several people on the streets later that they saw C-Span's airing of the whole 20+ minutes of it.

- recollections from tENTATIVELY, a cONVENIENCE

 

304. Money Against Capitalism (& the Republican National Convention)

- Unity 2000, the streets of Philadelphia, us@

- Sunday, July 30, 2000

- Rita Rodentia (see a zillion entries since 212 for more on this adorable rascal) & I dress as money (see entries 291 & 301) & go onto the streets of Philly for the legal (ho-hum) umbrella demo against the RNC. Rita dressed as a quarter that read "Fiberty" (instead of "Liberty") on 1 side & "In Money We Lust" (instead of "In God We Trust") on the other. I was a dollar again. We wandered thru the streets telling the often perplexed people such things as "Even MONEY is sick of Capitalism!" Allow me to use this opportunty to express our solidarity w/ Billionaires for Bush (or Gore).

- recollections from tENTATIVELY, a cONVENIENCE

 

305. Light Show (of Sorts)

- Andy Warhol Museum, Pittsburgh, us@

- Friday, August 25, 2000, 7:30-10:00PM

- I was asked, as a part of my job as a Warhol Museum projectionist, to show a Warhol film as background to an evening of bands in the theater there. Taking advantage of this RARE opportunity to actually do something 'creative' there instead of being little more than a piece of machinery, I brought in a camcorder & set it up on a tripod aimed out of the booth window & patched into the booth system so that I could include footage of the bands into the projection mix. I also brought in some scrap 35mm film to project - using an anamorphic lens to distort the images. I used 2 16mm projectors, 1 35mm projector, & video projector. Because the video screened was a live feed from the camcorder that was videoing the whole screen & stage area, the video included the other projections & the bands in an 'infinite regress' (limited to whatever level of finiteness the resolution was capable of). I dangled various objects, such as Fresnel lenses, in front of the 16mm projectors. The Warhol films used included reels 20-23 of "Screen Tests" & "Soap Opera".

- recollections from tENTATIVELY, a cONVENIENCE

 

306. Light Show (of Sorts)

- Andy Warhol Museum, Pittsburgh, us@

- Friday, September 1, 2000

- Once again (see entry 303) I was asked, as a part of my job as a Warhol Museum projectionist, to show a Warhol film as background to an evening of bands in the theater. I came even more prepared this time w/ the camcorder, slides, & scrap 35mm film. This time I used 2 16mm projectors, 2 35mm projectors, a slide projector, & the video projector. Again, the video screened was a live feed from the camcorder that was videoing the whole screen & stage area, so it included the other projections & the bands in an 'infinite regress' (limited to whatever level of finiteness the resolution was capable of) &/or showed close-ups. I projected found slides from Iceland & Africa & slides I'd made myself of various special texts - such as Kneehigh Gang "Misconnecteds" etc.. (see entry 257). The 35mm film used was from an animated Babar movie & a western. Since I could use both 35mm projectors simultaneously, in conjunction w/ anamorposis, I could overlap the images so that they formed a "+" or an "x" shape depending on how I rotated the lenses. The Warhol films used were reel 1 of "Screen Test #2", reels 1 & 2 of "Space", reels 1 & 2 of "Hedy", reel 2 of "Camp", & reel 1 of "Kitchen". I milked the available resources fairly thoroughly thru all the permutations of projection combination.

- recollections from tENTATIVELY, a cONVENIENCE

 

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