hidden-writing-blog

[hidden-writing-blog]

hey a quick note to all who follow--

i've not had the time/energy to post to hidden-writing in the past couple months (although i plan to start again in mid-june) but thought that any of you who are interested in some of the artworks etc shown on this blog might be interested in my other site http://ki-no-kami.tumblr.com/

its strictly reblogs, & is generally visual-aesthetic material, however i think its fairly similar in style if not in detail/level of curation.

hope all is well with all of you,

-automaton

[hidden-writing-blog]

`SECRET PUNK For 11 days I walked around with a safety-pin stuck through my left arm without anybody knowing it. 30 III - 10 IV 1979 - Gent, Antwerpen, Brussel...` <@)^)$$**>

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[{{kazuo ohno--ADMIRING LA ARGENTINA--betacam film of dance--1977/1994{]

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`i was to undergo two violent, profound, episodic (schizoid) experiences both related to the band. during the summer of 1976, following jim and mike"s departure for art school, i had a series of powerful visual, audible, and religious toned hallucinations (all non-drug induced) that continued non-stop for about one month that led me to be voluntarily admitted to a pontiac mental ward. niagara and my parents helped me through a difficult recovery (thorazine, stellazine, you name it) and within six months i plotted the next variation of dam, but now under psychedelics to equalize the fog. a second "backflash" happened over one year later while promoting the new "punk-fueled" band during a visit to new york city. at great humiliation and distress i was flown back to detroit in spaced-out condition and quickly dismissed by the band which could no longer engage my "syd barrett" antics. recuperation followed and i continued basement musical and magazine experiments through the 1980"s with compatriot barry roth under the nightcrawlers moniker....

jim shaw was the reluctant spiritual leader, he named the band and gave it his depressed/ fatalistic edge. watching jim play noise guitar was amazing. he would furiously and spasticly attack the instrument forcing every squeal and sonic utterance he could wring from it"s k-mart pick-up. it was nothing short of miraculous the effects produced, from exquisite in-tune celestial harmonics to shattering monstrous roars. mike"s contrubutions were often the most experimental and irreverent, derived from his total rejection and abhorrence of mediocrity. we played by instinct, often getting lost inside our miasmic cloud. early dam created a machine-like trance/drone similar to the effect of eastern ragas. our "songs" were often created on the spur of the moment, ridiculous take-offs and spoofs on classic rock, mondo monster movies and youthful-dementia. we would play these once or twice at the most, recording a version and then go on. imagining an audience for this was outside of reason.at most there were 30 people who came to hear us. one of them david fair was to begin half japanese a couple years later after checking out our squall. calling all girls was an original dam tune that found itself changed on half jap's first single.` <#(@_$$?>

<GROW LIVE MONSTERS>

{{destroy all monsters--DAM MAG/GEISHA THIS!-xerox'd magazine--1976-1978{{ <&^*)@_>

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`Cowboy 1: "What's your scene, man?" Cowboy 2: "Reification" Cowboy 1: "Yeah? I guess that means pretty hard work with big books and piles of paper on a big table." Cowboy 2: "Nope. I drift. Mostly I just drift."`

<)%)_&^$>

{[andré bertrand--LE RETOUR DE LA COLONNE DURUTTI--détourned film stills & photographs/wheatpasted comic strip-1966{} <@&*%)>

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`Richard P. : In these processes of metallization and crystallization, there’s the formation of blocks of space-time, and it’s through vibrations, transformations, compositions, projections, movements of exchange, movements of pure speed, movements of differential speed, that the fabrication of specific time, blocks of specific space-time, are produced, and perhaps it’s these that are going to form the metallic syntheses or the crystalline syntheses.

Gilles : That’s what I called assemblages [agencements] last time. They’re musical assemblages. These lines each have their own combinations, one cannot define them in an analogical [analogue] manner. In what we vaguely call a crystalline line, which has a whole history of its own, the determination of a crystalline line is not at all in relation to the material in the same situation as the determination of a metallic line is in its relation to its own material; therefore, neither of these lines will have any general formula. Being a crystalline line does not imply that the matter of the instruments which trace it is crystal. If I say metallic line, that implies that the instruments which trace it are brasses, at least at the beginning. Therefore, these two lines have different statuses. Actually they wobble [boitent] in relation to each other. For the woodwinds, this will be something else as well, we clearly have wood as matter, but wood as matter in relation to a musical line of wood is not at all the same thing as metal as matter in relation to a musical line of metal.

Richard P. : In all cases, the plane of consistency on which the crystalline music or the metallic music will take shape, in the case of the musical example, is absolutely indifferent to the material. At first, obviously, we could say that such and such metallic or crystalline instruments come into play, but what’s really important is the process of synthesis itself, it’s the plane of consistency that will bring out a process of affection of the metallic type or of the crystalline type, at such a point that purely electronic instruments could themselves release’while in themselves they don’t have any composition, neither of wood, nor metal nor crystal’affects of such and such type. ` <$)^@@#?>

{<}schizo/richard pinhas--LE VOYAGEUR--ft gilles deleuze reading from nietzsche's the wanderer--1972}

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`in 1999, i had been giving solo performances using natural objects, and several friends suggested that i might involve other players. the orchestra began nagging me, so to speak...my initial idea was to give the sounds of stones, wood, shells, etc., more mass wothout necessarily making them any louder (imagine a whole room full of people tumbling stones in their palms...) this proves in practice to be a tricky thing. give a group of people a pile of stones and the instruction to "make sound", and sooner or later certain organizing principles come to the fore. the tendency to play in periodic rhythm, for instance.
i have noticed that during my solo performances, i reach a state of listening that includes everything that is happening around me. the sounds that i am making, the sounds of the audience (if there is one) or the building or space i am in, all become one thing; a continuous net of sound. i forget myself, as it were. this is the state i aim for each time i make sound, and i want to know if a group of people making sound can reach this state together. i come to this state by "only just" making sound, without trying to force it into a structure of any kind, and listening intently. this is how the animist orchestra approaches performance as well. (from my journal of the time): june 24 Talking with dave while playing the cassette of the june 18 rehearsal, i explained to him my want of removing the "human brain (mind)" element of our playing, to create sound fields out of which formations will happen. he said something to the effect that if we could accomplish this, the results would sound "like nature". i agreed and said that that was indeed the aim. to remove, as much as possible, the intent to "make music"or "express ourselves", and just let the sounds be. this is why the natural objects work so well. thay don't lend themselves to being easily controlled. the basic difficulty lies in the tendency of the mind to wander, or "become bored" and seek to invent things to alleviate its boredom. the simple instruction to continually re-listen, to turn one's attention ever toward the sounds, was met with degrees of success depending on the mood or energy level of the various players on different days. at one point a sound-notation system was devised and sound scores written, to help keep everyone focused. at the same time, a set of terms came into use in order to talk about the actions we were performing to make sound. an example of a simple score, along with an explanation in "animist" terms:

any sound/as quietly as possible/sound field - becoming - bones/palmed/around - becoming - sticks/in any manner/around - plus - solo(dave)/anysound/in any manner -becoming - pine cones/plucked/sound field - becoming - stones/palmed/sound field - becoming - feathers/in space/sound field - plus - any sound in any manner (sparse) - becoming - nuts/palmed/sound field - shells/in any manner/around - becoming - any sound/as quietly as possible/sound field.`

{[[jeph jerman et al--ANIMIST ORCHESTRA--1999--}{

<$)&@)!)_>

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`Bellmer’s first doll, which he constructed with the help of his brother Fritz, his wife Marguerite, and Lotte Pritzel in 1933, stood around four-and-a-half feet tall.  She was made in the image of an adolescent girl.  His young cousin Ursula Naguschewski, to whom he had developed a strong attachment, was one inspiration for the figure.  Ursula was allowed to look at the doll from a distance but not to cross the threshold of the studio.  The doll was fabricated out of glue-hardened towand plaster of Paris over a metal and wooden armature, hand-carved with a rasp and wood-chisel.  Her body parts, which included two torsos, two legs, and one arm, could be freely disassembled and interchanged.  “I tried to rearrange the sexual elements of a girl’s body like a sort of plastic anagram,” Bellmer explained later.  “I remember describing it thus: the body is like a sentence that invites us to rearrange it, so that its real nature becomes clear through a series of anagrams.”  Initially he had also intended to “display a girl’s thoughts and dreams” in a miniature diorama viewed through the doll’s navel controlled by a button concealed in her nipple, but he abandoned the idea because of its technical difficulties.  This “panorama” would have shown “small objects, materials and color pictures distinguished by bad taste,” including “a boat sinking amid the ice-floes of the North Pole, a handkerchief ‘embellished’ with little girl’s spittle, sweets and kitsch prints for children.” [...] He asks whether his doll “didn’t … amount to the final triumph over those young girls—with their wide eyes and averted looks—when a conscious gaze plundered its charms, when aggressive fingers searching for something malleable allowed the distillates of mind and senses slowly to take form, limb by limb?”   There is a whiff of exorcism here—a settling of scores with the ghosts of longings past—reminiscent of Kokoschka’s Alma-doll, who ended up, after all that love and attention had been lavished on her, decapitated and drenched in red wine at the bottom of the garden.  “Fit one joint to the other, swivel the ball-joints full circle and test them for childlike poses,” Bellmer ends: Gently trace the hollows, savor the pleasures of the curves, stray into the opening of an ear, do pretty things while simultaneously scattering the salt of deformation with a hint of vengeance.  Above all, one must not stop short of the interior, of stripping away coy girlish thoughts so that their foundations become visible, best of all through the navel, deep within the belly in the form of a panorama electrically illuminated by colored lights.  Isn’t that the solution?` <$&^__@&*()>

{{hans bellmer--LES JEUX DE LA POUPÉE/THE GAMES OF THE DOLL--tinted photograph w/ doll--1935}>

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{{yasuzô masumura--BLIND BEAST/MÔJÛ--1969{{}

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`...Ringgold began to see painting as simply "a backdrop for something else," which was masks, or "Witches"—heads of weeping women, beaded and fringed and embroidered on fabric, showing the magical power attributed to women, their mouths open to denote the need for women to speak out. Then she began to make portraits of people she had known as a child, most of whom were women. ("I always wondered what they would have been like if they had had the opportunity to develop themselves. They were pretty sharp and skillful people. They knew how to do so many things. Real survivors.") These were portraits in the African sense—"the quality rather than the likeness of a person." Her mother, who of course had known them too, dressed the figures and gave them their "body look." The traditional aspect of women collaborating on art has not escaped Ringgold, whose two daughters (one a writer, one a linguist) are responsible for the skits written for her masks and "Soft People." She firmly believes that "art has gender, that women have their own culture and it needs to be modified, freed, to produce a new, unrepressed female art."`

—from lucy r. lippard—FAITH RINGGOLD'S BLACK, POLITICAL, FEMINIST ART—FROM THE CENTER—1976.

{[faith ringgold--WEEPING WOMAN #2/PORTRAIT MASKS/WITCH MASK--beaded & sewn mixed media & performers--1973{}

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`cabalistic symbols of the twentieth century`

{[maya deren & marcel duchamp--WITCH'S CRADLE--16mm/1943{}

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`I dreamed that my father wasn't killed but sailed away and was now living on an unknown island which was not marked on any map. And he was well fed and they didn't want him to go home. I told the doctor about the dreams and he gave me sedative pills and I stopped dreaming about my father.`

{{<yevgeny yufit--Убитые молнией/KILLED BY LIGHTNING [excerpt]--2002}}

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{{atlus co./hiroyuki tanaka--HELLNIGHT/DARK MESSIAH--psx/1998}

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<{}}hisayasu satō--女虐: NAKED BLOOD--museum k.k./1996{{}

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`He appears with an intensity nearly troublesome. This is the true Rimbaud, the individual in his truthfulness as an earthly man who eludes objectivity and is such an unknowable personality, not even by Verlaine. [seated next to Rimbaud is] Jules Suel, in the checkered outfit, proprietor of the Universe Hotel, who co-financed Rimbaud's 1886 expedition into Tadjoura, on the Red Sea, and the Kingdom of Menelik, who would become Negus, king of Ethiopia, one year later. [...] This became an insane adventure, this business of a caravan of armaments in what one might call the Wild West of the era. The caravan preceding had been massacred (and) it turned out to be a terrible physical ordeal on camel back...

Before knowing the exact date of the photograph, we had mentioned in the article of literary stories that the face of Rimbaud was "of a tired man" and "a little lost" , displaying an "expression of weariness". We now know that this picture was taken when Rimbaud was sick or just recovering from an illness after an exhausting journey probably along the Red Sea ports. Moreover, one of the most common reactions when this portrait was made public, was to claim that Rimbaud [did not have the] head of a poet, that we could not find any of this expression of being lost in the dream that expresses the famous photograph taken by Carjat. This is, in fact, true. But can we blame Rimbaud, who had recently arrived in Aden from hard times, and who is recovering from sickness, not to have posed for the photographer as a poet, nor even as a former poet?`

`But then again, what do we really know about the face of Rimbaud?` <$%*)?>

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`Beuys: .. .When I do something shamanistic, I make use of the shamanistic element--admittedly an element of the past--in order to express something about a future possibility. Simmen: All right, but how much of it is the presence of the shamanistic now, how much of it is the actuality of a model taken from the past, and how much of it is really alive and viable at the present time? Beuys: It's this aliveness that I'm after, also in the sense of will power based on the necessity of bringing back something into our time-conscious culture that's been lost, namely a willingness to take these lost forces seriously, forces that are there in shamanism, and to put them back in the context of our thinking in a completely new way. That's why these things are realities not only in an aesthetic context, they're also real intentions. (27)` <@()!)__!_$(*%)>

{{joseph beuys--COYOTE ACTION--ny/1974}

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`Lack Of Love puts you in control of a single-cell organism that must help other creatures around it in order to acquire their genetic code and evolve into larger, greater creatures. Along the way you find that a robot has landed on your planet and is terraforming it in preperation for colonisation.` <&%^*))$__>

{{love-de-lic/kenichi nishi--L.O.L.: LACK OF LOVE--dreamcast/2000{}