Fw: Re: here 's other one
Cecil Tayor - Derek Bailey Duo @ Tonic 5/3/00 as if he were playing the music on his skin hair tangled wire case made orange in black orbit of choices sympathetic cord red i cu lous in conjunction with dynamic snap the way wrists refuse to bend as if my ears were the changes addressed don't make up what's right in front of you hot mustard salad BITTER chorus' soured candy broken heart not yet thru the sketches the scribe's already in my BLOOD feet of buzzards waiting in head pounding eyes saying Come to Me come TO mE (wish i had a camera that could make people real) tripping over organic step having less choice than will/string allows incarnate rooted in bulb keep "I" out of rational choices because museums allow such a thing as if played the mass your pockets full o' theories the basic combination of movements the eventual ride home sealed walls unhinged if i never saw that face again i would blessit take the juice away (improvise within the vocabulary fleece the sadly rumor of the particular language but the time for invention is never gone you are speaking) thrives it like an old tongue thru an intricate series of bailed canals it's a basin in here a self-created cistern of dark was L i gh t once a bowl of delectable condiments even now with temperaments awash the whole meal sampled for FREE. steve dalachinksy nyc @ tonic 5/3/00 --***'You can't always wait for a composer to write the music you want to play.' - Derek Bailey ***Kurt Gottschalk60 Seaman Ave. 5JNYC NY 10034
Fw: Re: i ran jazz blog in works wanna join?
i ran ct at iridium big band set one this is because i ran as voices saturate i ran as awned blooms rally i ran as with the built burning s(c)ores i ran wild dice tens' even the snake eyes when formed the instant glown i ran i ran because once then in a great long been there i ran as spittle ran from a tone cluster the mouth of time elbowed bowing in scrim's name i ran crim(e) ate hanging on turfers pulverized i ran as theolopy thagged random ran as if i were running i ran ran r an steve dalachinsky nyc @ iridium 12/16/05 cecil taylor big band set 1
Fw: Re: Fw: Fw: Re: invisible ray or as you say radiator pome pt 12
12. school of the future a. sick in body mind to rob another's joy sum are i token oh the one that sell the dope his former boss tell him one day i be the future you'll regret clock refuses to talk cut logic placid b. x haust today the wait's a mile long the weight of conversation between menreal estate pro state lungs hip replacements chemo some things last as last times xciting agor atholes full guard we laugh at great distances short distances long/wars like his wwll storyarguable that leaving is a bit less norgood enough. 13. seriously mecca is a beginning thought damaged goods a mis-shoot pen howling @ the difference between one chain or another reade my boots believe in monstro sities please yours, alone nasty in the dark
Re: Fw: Re: Fw: Fw: Re: invisible ray or as you say radiator pome pt 12
14 don't worry we'll always be with you her hands tell him
Fw: Re: [CompanyofPoets] haiku project (8-12-05) the right to bitch
uh papa bear or grizzly man a must see film was there grizzly omnivore in a triplicate claiming to be uni or was that very expensive japanese raw fish
FW: Re: Xul Solar
Hello Everyone-- Harry Burrus sent this to me thought to pass on to you--as recently xul solar mentioned on list and here great opportunity to find these closer to hand-- --think i'll go to see these in the old home of Duke Records (Bobby Blue Bland etc) and international artists label! (13th floor elevators, bubble puppy , red krayola even lightnin hopkins)Many thanks, Harry! david-bcI checked his work -- notice the exhibit is coming to Houston!First show for him is USA.The show in BA:The exhibition, entitled "Xul Solar: Visions and Revelations," opened here in June and will continue through Aug. 15. In September, it will travel to São Paulo and, early next year, to the Museum of Fine Arts in Houston for what will be Xul Solar's first individual show ever in the United States."When it comes to Latin American art of the 1920's and 1930's, people tend to think of the Mexican muralists and Frida Kahlo and stop there," said Mari Carmen Ramírez, the Houston museum's chief curator of Latin American art. Xul Solar, by contrast, "is not the kind of artist who is easily absorbed into the fine-arts milieu of any country," because he did not conform to a single medium or pattern of _expression_.Recognizing Xul Solar's growing stature, the Houston museum recently acquired three of his works. The most celebrated is "Jefa," a 1923 watercolor of a woman's head, adorned with cat's whiskers and surrounded by arcane symbols, that critics regard as the culmination of an especially fecund period of the artist's 50-year career.Xul Solar's art has usually been viewed as part of the Latin American avant-garde of the early 20th century. But the curator of the Malba show, Patricia Artundo, has chosen to give equal weight to the mystical aspects of his work: the first painting visitors see on entering the gallery is a painting Xul Solar did of his own horoscope in 1953."His was a spiritual search, but not in a straight line," Dr. Artundo said. "Occult sciences, the Kabbalah, astrology, the I Ching, the tarot, Aleister Crowley, they all flow together along with his vanguard tendencies and play a role in his desire to unify Latin America on a spiritual basis."Critics and art historians often compare Xul Solar to Paul Klee, whose work he saw and admired during the dozen years he spent in Europe before returning in 1924 to Argentina. Like Klee, Xul Solar often included letters, numbers and other symbols in his paintings. The color schemes the two artists adopted was often similar too, as was the underlying spirit of their work and their interest in primitive and archaic art."There is a lot of kinship in their formal visual language, their refusal to paint in a traditional way and in the almost childlike quality of Xul Solar's work, the way he uses schematic figures like the sun, the moon and snakes," Dr. Ramírez said. "He absorbed German Expressionism and Paul Klee as his starting point, though what he did with them later was very different."In addition to the paintings, the exhibition contains tarot cards painted by Xul Solar, a pair of masks and several objects he invented. These "heirlooms from another cosmos," as he once referred to them, include a harmonium with three rows of colored keys and a board game he called "pan-chess," with 13-by-13 squares (instead of 8-by-8).At a panel discussion here in early July, Jorge Schwartz, a critic and professor of Spanish-American literature at the University of São Paulo, talked of Xul Solar's "desire to make corrections," citing pan-chess and the artist's plan to modify soccer to use up to five balls simultaneously. But he also tried to improve his native tongue by inventing two new languages, Neo-Criollo and Pan-Lengua, that he incorporated into his work.One of his many notebooks, written in Neo-Criollo, is on display as part of the exhibition. Many of the paintings were also given titles in Neo-Criollo, or Neo-Creole, a mixture of Spanish and Portuguese with a smattering of English.The artist's playfulness with language extended even to the pseudonym he adopted while living in Europe, at the suggestion of an Argentine friend and fellow painter who thought his real name too ponderous for an artist. Though based on his birth name, Xul Solar can be interpreted to mean "solar light" or "light from the south."Many of the works in the exhibition are on loan from the Xul Solar Museum here, which opened in 1993, one floor below the apartment where the artist lived for most of his adult life. The museum contains the largest collection of his paintings, along with much of his correspondence and manuscripts."Xul used to say that he painted reality, the reality of his own visions," said Jorge Natalio Povarche, director of the Xul Solar Foundation, which runs the museum, and the artist's dealer during the later stages of his career. "Other painters were easier to read, and that is why so much of his work ended up here. There was no market for him because they didn't understand him."Borges, though,
FW: RE: [spidertangle] Geof reviews DBC's Xerolage 32
Thank you toAllenBramhall for noting GeofHuth'swarmly generous and very insightful review of my rubBEings book xerolage #32. Here is a response to the review sent to spidertangle that may be of interest-- Download your favorite songs at MSN Music - Over 1 million songs for just 99¢ each ---BeginMessage--- I want to thank so very heartfeltly much Geof Huth for his review, and also thank mIEKAL for his comment re the letter that is presented in it. I was deeply moved and completely astonished to find Geof's insights and understandings and commentaries on the rubBeings--and them as fragmented autobiography, flowing water cupped in hand and myself to be the dirtiest of the dirty. I was reading the review and at one point thought, who is this person? I would like to meet them and say--you are doing what i have dreamed of doing, what i have felt and never found the way to say. Then i realized the person is myself! Truly, "I is an other"--it is uncanny--to encounter oneself in another guise- I deeply appreciate that Geof called what i do "ancient and childlike". Ancient because Visual Poetry is even more ancient than we have a record of. But where there were eyes to see and hands to move--sites/sights/cites to make notations of--there was Visual Poetry. Childlike because in this case "even a child could do it"--for God's sake--walking aorund everywhere with a crayon--( a bit like a sort of reverse "Harold and the Purple Crayon" he draws what he wants--where i take what i can find so to speak)--i have found myself not a few times standing facing a wall in an alley--and thinking as i move the crayon--what have i become?As Geof writes, there is no "progress"--it is indeed the flow of time--does time count time?--and where would one "advance"?--or return to?--when it has moved also--flowed-- As Geof notes there is no "progress". Does time count time? And does anything "advance" or "return"? It is flowing and all is moving, ever in change. To present the present of the presence passing--"present" also being "gift"--what is given there to find--is all--it is everything--one is humbled and honored to be present within this that is--the rubBEings are in a sense a notation and an erasure--one gives thanks--as simply as one can--the rubBEings--and hopes that as much as possible the things found "speak for themselves"--at some point they emerge in their own way-- A person wrote to me that for her it brought to mind Gerard de Nerval in AURELIA writing of something that is impossible: "you might as well expect the ground to explain its own tracks." And that for her the rubBEings had done just this. I was completely stunned by this--it is all that one could hope for. (And also--AURELIA is one of my favorite books, and the first of my pieces at the gallery of the durban segnini show is named "Aurelia"--these connections themselves are straight out of the pages of AURELIA--as though the book lives on through one to be continually found--that thatthat was lost is found again--) Geof also notes that the impossible seems to be made possible. I do not know how this is other than that i have a profound faith in the found. "It is found again--what?/Eternity-" When one keeps moving, the hands and eyes working no matter what--no matter what-- there is the found to be found--more at times than one could ever hope or dream. And that is the impossible made possible. In the "Trance" poem for example--there is as Geof surmised--a plaque on Prospect Street now by a parking lot-for a huge new construct of condos and other things---on a bluff--looking out over Lake Michigan--there is a two sided metal plaque just barely within my reach if i stretch as tall as i can. There was a camp here during the American Civil War--7,000 troops stationed--Lafayette i think (?) was the name of the camp, and not too many blocks away is Lafayette Street. Lafayette, Indiana also happens to be where i was born. On the other side of the road leading in to the parking lot--(i once saw before it was built a deer there--staring at me for some time--then going back amongt he trees--)--there is a sign perpindicular, with large letteringsit says "Entrance"--the conjunction of these two signs--i thought--of a sudden--TRANCE--the trance of the past standing there--like me standing there in a sort of trance myself--that was there-real-the camp---and the trance of the soldiers encamped--with the war going on, and sititng there with them--even though not at the front--and the trance--that is in a way war--a trance that comes over people--in which they commit acts that outside of war they would never think themselves capable of. (and later often deny--) What Geof writes is true--it is "Trance" that brings all these elements together--(yet what kind of Trance--?)--and floats there, above, in a trance--in trance--entrance-- I deeply apprieciate what Geof notes,that these are part of the world (or worlds)--the dirt in these dirtiest of the dirty--just
