Friday, 27 February 2009
Wednesday, 18 February 2009
SIRE, I AM FROM THE OTHER COUNTRY
We are bored in the city, there is no longer any Temple of the Sun. Between the legs of the women walking by, the dadaists imagined a monkey wrench and the surrealists a crystal cup. That's lost. We know how to read every promise in faces--the latest stage of morphology. The poetry of the billboards lasted twenty years. We are bored in the city, we really have to strain to still discover mysteries on the sidewalk billboards, the latest state of humor and poetry:
- Bath of the Patriarchs
- Meat Cutting Machines
- Notre Dame Zoo
- Sports Pharmacy
- Martyrs Provisions
- Translucent Concrete
- Golden Touch Sawmill
- Center for Functional Recuperation
- Sainte Anne Ambulance
- Cafe Fifth Avenue
- Prolonged Volunteers Street
- Family Boarding House in the Garden
- Hotel of Strangers
- Wild Street
And the swimming pool on the Street of Little Girls. And the police station on Rendezvous Street. The medical-surgical clinic and the free placement center on the Quai des Orfevres. The artificial flowers on Sun Street. The Castle Cellars Hotel, the Ocean Bar and the Coming and Going Cafe. The Hotel of the Epoch.
And the strange statue of Dr. Philippe Pinel, benefactor of the insane, in the last evenings of summer. To explore Paris.
And you, forgotten, your memories ravaged by all the consternations of two hemispheres, stranded in the Red Cellars of Pali-Kao, without music and without geography, no longer setting out for the hacienda where the roots think of the child and where the wine is finished off with fables from an old almanac. Now that's finished. You'll never see the hacienda. It doesn't exist.
The hacienda must be built.
All cities are geological; you cannot take three steps without encountering ghosts bearing all the prestige of their legends. We move within a closed landscape whose landmarks constantly draw us toward the past. Certain shifting angles, certain receding perspectives, allow us to glimpse original conceptions of space, but this vision remains fragmentary. It must be sought in the magical locales of fairy tales and surrealist writings: castles, endless walls, little forgotten bars, mammoth caverns, casino mirrors.
These dated images retain a small catalyzing power, but it is almost impossible to use them in a symbolic urbanism without rejuvenating them by giving them a new meaning. Our imaginations, haunted by the old archetypes, have remained far behind the sophistication of the machines. The various attempts to integrate modern science into new myths remain inadequate. Meanwhile abstraction has invaded all the arts, contemporary architecture in particular. Pure plasticity, inanimate, storyless, soothes the eye. Elsewhere other fragmentary beauties can be found -- while the promised land of syntheses continually recedes into the distance. Everyone wavers between the emotionally still -- alive past and the already dead future.
We will not work to prolong the mechanical civilizations and frigid architecture that ultimately lead to boring leisure.
We propose to invent new, changeable decors....
Darkness and obscurity are banished by artificial lighting, and the seasons by air conditioning; night and summer are losing their charm and dawn is disappearing. The man of the cities thinks he has escaped from cosmic reality, but there is no corresponding expansion of his dream life. The reason is clear: dreams spring from reality and are realized in it.
The latest technological developments would make possible the individual's unbroken contact with cosmic reality while eliminating its disagreeable aspects. Stars and rain can be seen through glass ceilings. The mobile house turns with the sun. Its sliding walls enable vegetation to invade life. Mounted on tracks, it can go down to the sea in the morning and return to the forest in the evening.
Architecture is the simplest means of articulating time and space, of modulating reality, of engendering dreams. It is a matter not only of plastic articulation and modulation expressing an ephemeral beauty, but of a modulation producing influences in accordance with the eternal spectrum of human desires and the progress in realizing them.
The architecture of tomorrow will be a means of modifying present conceptions of time and space. It will be a means of knowledge and a means of action.
The architectural complex will be modifiable. Its aspect will change totally or partially in accordance with the will of its inhabitants....
Past collectivities offered the masses an absolute truth and incontrovertable mythical exemplars. The appearance of the notion of relativity in the modern mind allows one to surmise the EXPERIMENTAL aspect of the next civilization (although I'm not satisfied with that word; say, more supple, more "fun"). On the bases of this mobile civilization, architecture will, at least initially, be a means of experimenting with a thousand ways of modifying life, with a view to a mythic synthesis.
A mental disease has swept the planet: banalization. Everyone is hypnotized by production and conveniences sewage system, elevator, bathroom, washing machine.
This state of affairs, arising out of a struggle against poverty, has overshot its ultimate goal--the liberation of man from material cares--and become an obsessive image hanging over the present. Presented with the alternative of love or a garbage disposal unit, young people of all countries have chosen the garbage disposal unit. It has become essential to bring about a complete spiritual transformation by bringing to light forgotten desires and by creating entirely new ones. And by carrying out an intensive propaganda in favor of these desires.
We have already pointed out the need of constructing situations as being one of the fundamental desires on which the next civilization will be founded. This need for absolute creation has always been intimately associated with the need to play with architecture, time and space....
Chirico remains one of the most remarkable architectural precursors. He was grappling with the problems of absences and presences in time and space. We know that an object that is not consciously noticed at the time of a first visit can, by its absence during subsequent visits, provoke an indefinable impression: as a result of this sighting backward in time, the absence of the object becomes a presence one can feel. More precisely: although the quality of the impression generally remains indefinite, it nevertheless varies with the nature of the removed object and the importance accorded it by the visitor, ranging from serene joy to terror. (It is of no particular significance that in this specific case memory is the vehicle of these feelings; I only selected this example for its convenience.)
In Chirico's paintings (during his Arcade period) an empty space creates a full-filled time. It is easy to imagine the fantastic future possibilities of such architecture and its influence on the masses. Today we can have nothing but contempt for a century that relegates such blueprints to its so-called museums.
This new vision of time and space, which will be the theoretical basis of future constructions, is still imprecise and will remain so until experimentation with patterns of behavior has taken place in cities specifically established for this purpose, cities assembling--in addition to the facilities necessary for a minimum of comfort and security-- buildings charged with evocative power, symbolic edifices representing desires, forces, events past, present and to come. A rational extension of the old religious systems, of old tales, and above all of psychoanalysis, into architectural expression becomes more and more urgent as all the reasons for becoming impassioned disappear.
Everyone will live in his own personal "cathedral," so to speak. There will be rooms more conducive to dreams than any drug, and houses where one cannot help but love. Others will be irresistibly alluring to travelers.... This project could be compared with the Chinese and Japanese gardens of illusory perspectives [en trompe l'oeil]--with the difference that those gardens are not designed to be lived in all the time--or with the ridiculous labyrinth in the Jardin des Plantes, at the entry to which is written (height of absurdity, Ariadne unemployed): Games are forbidden in the labyrinth. This city could be envisaged in the form of an arbitrary assemblage of castles, grottos, lakes, etc. It would be the baroque stage of urbanism considered as a means of knowledge. But this theoretical phase is already outdated. We know that a modern building could be constructed which would have no resemblance to a medieval castle but which could preserve and enhance the Castle poetic power (by the conservation of a strict minimum of lines, the transposition of certain others, the positioning of openings, the topographical location, etc.).
The districts of this city could correspond to the whole spectrum of diverse feelings that one encounters by chance in everyday life.
Bizarre Quarter--Happy Quarter (specially reserved for habitation) -- Noble and Tragic Quarter (for good children)--Historical Quarter (museums, schools)--Useful Quarter (hospital, tool shops) --Sinister Quarter, etc. And an Astrolaire which would group plant species in accordance with the relations they manifest with the stellar rhythm, a planetary garden comparable to that which the astronomer Thomas wants to establish at Laaer Berg in Vienna. Indispensable for giving the inhabitants a consciousness of the cosmic. Perhaps also a Death Quarter, not for dying in but so as to have somewhere to live in peace, and I think here of Mexico and of a principle of cruelty in innocence that appeals more to me every day.
The Sinister Quarter, for example, would be a good replacement for those hellholes that many peoples once possessed in their capitals: they symbolized all the evil forces of life. The Sinister Quarter would have no need to harbor real dangers, such as traps, dungeons or mines. It would be difficult to get into, with a hideous decor (piercing whistles, alarm bells, sirens wailing intermittently, grotesque sculptures, power-driven mobiles, called Auto-Mobiles), and as poorly lit at night as it is blindinglylit during the day by an intensive use of reflection. At the center, the "Square of the Appalling Mobile." Saturation of the market with a product causes the product's market value to fall: thus, as they explored the Sinister Quarter, the child and the adult would learn not to fear the anguishing occasions of life, but to be amused by them.
The principal activity of the inhabitants will be the CONTINUOUS DÉRIVE. The changing of landscapes from one hour to the next will result in complete disorientation....
Later, as the gestures inevitably grow stale, this dérive will partially leave the realm of direct experience for that of representation....
The economic obstacles are only apparent. We know that the more a place is set apart for free play, the more it influences people's behavior and the greater is its force of attraction. This is demonstrated by the immense prestige of Monaco and Las Vegas--and Reno, that caricature of free love--although they are mere gambling places. Our first experimental city would live largely off tolerated and controlled tourism. Future avant-garde activities and productions would naturally tend to gravitate there. In a few years it would become the intellectual capital of the world and would be universally recognized as such.
KENNETH ANGER MEETS ALEISTER CROWLEY
A thoughtful afternoon of documentaries about the infamous Aleister Crowley includes Kenneth Anger's gripping tribute to his paintings, THE MAN WE WANT TO HANG. (This film was not included in Anger's recent visit to Copenhagen!)This program is part of a weekend of films that also includes HÄXAN,BLACK MASS and WITCHFINDER GENERAL.
HÄXAN (aka WITCHCRAFT THROUGH THE AGES) 1922, 75 min.
This is the 1968 “English sound version” of the 1922 Benjamin Christensen (Danish) classic. It features narration by William Burroughs and a new score played by musicians such as Jean-Luc Ponty and Daniel Humair – condensed to 75 minutes from the original version of 106 minutes, with narration and inter-titles in English.
BLACK MASS, 1928 – this rare 8 minute German silent film follows directly after Häxan and seems somehow a perfect fit. Be advised, this recreation of a satanic mass contains explicit XXX imagery.
WITCHFINDER GENERAL: 1968, (86 minutes) The year is 1645: England is in the grip of bloody civil war and chaos rules the land. In this climate of fear, self-styled witch hunter Matthew Hopkins travels the country with his brutal assistant, preying on innocent victims in the name of the Lord, accusing them of witchcraft and then torturing out confessions or forcing sexual compliance from accused women in return for mercy. Vincent price stars as the detestable Hopkins in one of the most chilling performances of his career.
A TRIBUTE TO ALEISTER CROWLEY
: ALEISTER CROWLEY: THE WICKEDEST MAN IN THE WORLD - IN SEARCH OF THE GREAT BEAST 666, 125 min. 2007, by Robert Garofalo. Employing actors to re-stage various phases of Crowley’s life, much detail is offered up on the man whom the British tabloid press gleefully dubbed “The Worst Man on Earth.” Visually absorbing, there is lots of information here though the film admittedly focuses on the more lurid aspects of his life & philosophies. As one online synopsis puts it: “The self-proclaimed 'Great Beast', Aleister Crowley was known to the press as the 'wickedest man in the world' and perhaps one of the most notorious figures in British history. This dramatic reconstruction delves into the sordid past and how his legacy would influence many, including President George Bush, The Beatles and Ian Fleming.”
ALEISTER CROWLEY: THE BEAST 666, 50 minutes / 2008 by Donna Zuckerbrot. Another biographical portrait, this film takes a more sympathetic look at what Crowley was attempting to do by utilizing archival footage and interviews with Crowley’s biographer and a modern day magician who was inspired by Crowley. Adapts a much less sensational tone and by doing so it in some ways gets to the heart of what Crowley was all about more effectively. Does it come closer to “the truth?” That’s an open question as it seems there can never be total conformity of opinion about this controversial and ambiguous figure.
THE MAN WE WANT TO HANG directed by Kenneth Anger / 2002, 12 min. Kenneth Anger pays tribute to the paintings of Crowley. His camera lens explores the geography of Crowley’s mysterious and nightmarish images as the classical music of Anatol Liadov provides suitable accompaniment undisturbed by intrusive narration. Employing just the image and sound, the film functions as both a languid contemplation and a suitably sinister tribute to the visions of a man who figures as one of Anger’s primary sources of inspiration.