10 & 11 NOV / 11am - 5pm Raversyde Domein / Atlantic Wall (a couple of stops by coast tram from Ostend station) by Heike Langsdorf & Ernst Maréchal in dramaturgical - productional dialogue with Elowise Vandenbroeucke context: finissage weekend Un/Settled EXPO by KAAP-Raversyde-Argos The Library Is Calling You are welcome from 11am to 5pm to visit an assemblage of documents. There are always librarians present who are busy editing and recomposing their and other people’s thoughts, that manifested in forms of books, records, images, objects, dances and concerts. In doing so, they consider migration as a non-stoppable movement on a global-, everyday-, and micro-scale. At certain moments the librarians will invite you to add your own visions by using and quoting the materials at hand. Every 30 minutes you will hear and see a *jingle*, a danced and sung interaction with the library’s calm. Every second hour the librarians work on a soundscape of which you become more or less part of. [Un/Settling Library (Testing). In retrospective to and drawing further on Un/Settled Residency, a one week gathering in public space in Ostend, for people to dis/agree on notions of migration. The format tested, should enable an activation of existing archives, libraries, collections,... and propose an ever multiple 'reading' of any subject matter.]

music piece, for soprano, mezzo and two mxed choirs and orchestra

Film

Excerpt from their movie Congorilla, 1932. Part of my research into the many funny ways in which westerners have depicted "these childlike savages" (quote Martin Johnson).

Animated movie, pixillation, 1993

Deren's second experimental film, At Land (1944), reinforces her interest in the juxtaposition of anachronistic spaces and introduces a critique of social rituals. This film begins by reversing the natural rhythm with images of waves breaking and descending back into the sea. Starring again, Deren is seen climbing up a dead tree trunk on the beach, magically emerging onto a table where a formal dinner party is in progress. This 'civilized' world ignores Deren as she crawls along their dinner table. By depicting herself as invisible to the diners, Deren highlights the myopia of the guests. The dinner sequence in At Land ends with an enchanted chess game. A pawn falls from the table and descends back into the dead wood on the beach, it falls over rocks, into the water and is washed away over the waterfalls. Chasing the pawn, Deren is restored to her original landscape. - Wendy Haslem

I have been strongly impressed by the performance of Adrian Piper, “Cornered”, that I have only seen on video. The construction of this “interview”, in which she foresees every possible answer the spectator might come up with and immediately undermines the potential of this reaction by devaluating it in her next question. The thinking follows a clear line, to bring you from the one idea to the next one.

This principles of Black Market helps me to work, to search and to stay on A WAY

Indian art is a strong inspiration since some years. Why? Maybe because of the rigor of some artists and the emotion that these artists provocate in my mind, in my body. Like a paradox between chaos and harmony. If i should choose an artist who is alive and who is very important for me, it should be the singer Sanjay Subrahmanyan. If i should choose an artist who died and who was an extraordinary "portrait film director" it should be Satyajit Ray...

This video features a novel approach to demonstrating how proteins are synthesized.

A literary study (an unusual form and already interesting for that) of space. Methodical, without fear of being close to self-evident, nor of emptiness. There's a good Dutch translation called 'Ruimten rondom'.

Two pieces, in a hybrid form of prose and poetry, on two walks, one in the countryside and one in the city, by a young man who is at the same time extremely introspective (living in his own world of rules) and extremely attentive (observing with great detail). Special sense of humour.

transform conflict into community with a method called worldwork

Last film by Vanessa Van Houten which she shot in Thailand. Some of the people you meet in your life, you might only have a short but strong encounter, which has an impact that is life changing. The narrative was developed based on true life stories, which were researched in the prostitution districts of Thailand. The look of the film was inspired by the photographic works of Nan Goldin and Nobuyoshi Araki.

First colored movie of Akira Kurosawa, Dodes'kaden is a very hard painting of the life in Tokyo's shantytowns. Full of references from the silent films to the expressionism.

Love Streams is full of all the differents themas used in John Cassavetes 's previous movies.Love streams is about the complicated relationship between a brother and a sister, is about the loneliness of human beings; a love story; the processus of couple self-destruction;the dream of freedom; the madness; the search for love.

Impressive filming and touching story about the sincere love of a man for both his wife and his lover, situated in a Mennonite community in Mexico.

The research of the book was for the main part based on oral history, and tells the very clear, well-written, and shocking history of the lives of individuals and their families (several generations) living under Stalin's Terror.

This scene out of Roma by Fellini has been important to me in terms of lighturgency

as part of the process of EXTRACTION i sent this link to Marc Vanrunxt, june 2008

The telephone (from the Greek: τῆλε, tēle, "far" and φωνή, phōnē, "voice") is a telecommunications device that transmits and receives sound, most commonly the human voice.

The record player, phonograph or gramophone was the most common device for playing recorded sound from the late 1870s until today

A book describing a world where artists are hired as living paintings for long periods in collections.They are no persons anymore.

A series of 10 dance solos where 1 dancer dances for one spectator at a time. Questions distance and participation of the spectator.

'to look at something which is 'empty' is still to be looking'.

something to do when in arizona

TATE TRIENNIAL

The Charles Eliot Norton Lectures 1985-86

pre-emptive celebration of a critical optimism

"slower/better" thinking

Specifically Part 2, Chapter 5, 'Mysticism and Sensuality'

segment on 'Mondo New York' TV

Novel,essay on art,political reflexion and many other things

Essay about japanese culture and its signs.

Artist and scientist Natalie Jeremijenko offers inspiration for environmental issues people encounter in their daily life

Media artist Julius von Bismarck breaks and enters other people’s photographs

Proto post modern literature. Deals with the horror of language itself and/or the impossibility of describing horror. cf. cont. authors Brian Evenson & Mark Z. Danielewski

Théatre au coeur de la Cité.

Walk-talk with former ambassador to Singapore, Marc Calcoen, on the press conference of the "A Story of the Image" exhibition in Singapore, occasionally indicating René Heyvaert's 'Untitled' (1988) as his favorite work.

Alexander Vinokourov wins Stage 21 of Tour De France 2005.

These days the only things that land on Hashima Island are the shits of passing seagulls. An hour or so’s sail from the port of Nagasaki, the abandoned island silently crumbles. A former coal mining facility owned by Mitsubishi Motors, it was once the most densely populated place on earth, packing over 13,000 people into each square kilometre of its residential high-risers. It operated from 1887 until 1974, after which the coal industry fell into decline and the mines were shut for good. With their jobs gone and no other reason to stay in this mini urban nightmare, almost overnight the entire population fled back to the mainland, leaving most of their stuff behind to rot. Today it is illegal to go anywhere near the place as it’s beyond restoration and totally unsafe. The Japanese Government aren’t keen to draw unwanted attention to this testament to the hardship of the country’s post-war industrial revolution either. The punishment for being caught visiting Hashima Island is 30 days in prison followed by immediate deportation. But the other week, after getting up before sunrise and cutting a secret deal with a local fisherman, some friends and I landed on Hashima Island. The port of Nagasaki is an international fare where you’re more likely to find granny-laden cruise ships and large oil tankers filling the docks than buck-toothed fisherman willing to break the law for a few extra bob, so we took the early morning ferry to the still-inhabited Takashima, the closest island to Hashima. After asking around – and being politely turned away by every Japanese we mentioned it to – finally we found our man. The rules of Japanese politeness dictate you never say what you want directly, so even once we were aboard the boat we weren’t sure we were actually going to set foot on Hashima – we’d only agreed for our fisherman to take us close enough to see it. Bobbing into view, the grey seawall’s artificial angling of the island gives it the shape of a battleship – hence its Japanese name in popular mythology, “Gunkanjima” - Battleship Island. Getting closer, talks with the fisherman continued slowly – it was only as we were actually setting foot on the landing jetty that he finally agreed to give us a couple of hours to explore before returning to pick us up. In some areas the entire façades of buildings had fallen to the ground, revealing grids of homes, each exposed with their 70s television sets smashed after the TV stands had eroded away. It was difficult to gauge exactly what it might have been like to live here, although with the complete lack of outdoors space and the prison-like seawall keeping you in, I can’t imagine it to have been anything other than claustrophobic, uncomfortable, and a bit like living in an ant farm. Personal artefacts lay littered everywhere – old shoes, bottles of shampoo, newspapers and even posters left on teenagers’ walls – these were the most vivid clues that people had once been here. We explored the empty classrooms of the island’s huge school. The rusted carcasses of desks and chairs lay in front of blackboards displaying the withered dusty marks of the last class to have taken place there 30 years before. From the top floor gymnasium we looked down into the main auditorium, whose roof had caved in long before. It was clearly structurally unsafe, we were walking over large slabs which had fallen previously from the ceilings above us. On roughly the ninth floor of an apartment block, I stepped into one of the rooms to admire the sea view from the window. The traditional woven tatami floor beneath my feet, unused to human contact, gave way, sending a tremendous ripping sound through the building’s shell. I fell… …about one meter, but it was enough to freak us out and from here on we took more care where we trod. At only 1.2km squared, the island is tiny, but you never can quite grasp this when you’re winding through its perspective warping high-risers. To get a better overall look we scaled the central watchtower - precarious as its old access paths was now overgrown beyond usability. cutdown-watchtower It never crossed our minds that the fisherman wouldn’t come back. We were more worried that we only had those two hours on the island, an arbitrary frame of time my friend picked in the moment of excitement when we got the green light for transport. There was enough stuff there to keep us busy there for an entire day. And then, two days after this was written, the government re-opened it.

Conspiracy theorists on the web have claimed that the bots accurately predicted the September 11 attacks and the 2004 Boxing Day tsunami, and that they say a cataclysm of some sort will devastate the planet on 21 December, 2012. The software, similar to the “spiders” that search engines use to index web pages, were originally developed in the 1990s to predict stock market movements. The bots crawl through relevant web pages, noting keywords and examining the text around them. The theory is that this gives an insight into the “wisdom of crowds”, as the thoughts of thousands of people are aggregated. However, the technology was later appropriated for another, more controversial – some say nonsensical – use: predicting the future. Its study of “web chatter” is said to give advance warnings of terrorist attacks, and proponents claim that it successfully did so ahead of 11 September 2001. George Ure, one of two men behind the project, says that his system predicted a “world-changing event” in the 60 to 90 days after June 2001. Despite the vagueness of this prediction, many believed it to be genuine. Now its makers claim that the technology can predict natural disasters, and that it foresaw the earthquake that triggered the 2004 tsunami, as well as Hurricane Katrina and the devastation that followed. Its latest and most sweeping prediction is that 21 December 2012 signals the end of the world, possibly through a “polar shift” – when the polarity of the Earth’s magnetic field is reversed. Believers claim that as well as the bots, the 2012 apocalypse is predicted by the ancient Mayan calendar, the Book of Revelations, and the Chinese text I Ching. Sceptics have pointed out several major flaws in the theory. First, the internet might plausibly reveal group knowledge about the stock market or, conceivably, terror attacks, as these are human-caused events. But, say critics, it would be no more capable of predicting a natural disaster than would a Google search. Second, the predictions are so vague as to be meaningless, allowing believers to fit facts to predictions after the event: a blogger at dailycommonsense.com compares them to Nostradamus’s quatrains. They give the September 11 prediction as a case in point. Third, the prophecies become self-distorting. “The more people publish about 2012 and the end of the world,” says the same blogger, “the more data web bots get pointing towards 2012.” The polar shift theory is based on a genuine scientific theory, “geomagnetic reversal”, which suggests the Earth’s polarity shifts every few hundred thousand years. However, the theory in its current form is not reconcilable with the web-bot predictions of it taking place on a particular day in 2012: best estimates suggest each shift takes around 5,000 years to complete. A film based on the predicted apocalypse, by The Day After Tomorrow director Roland Emmerich and starring John Cusack and Danny Glover, is due to come out in November, called 2012.

Activation The participating audience are gathered in a gallery space (a converted shop front) under the auspices of an art gallery opening. The artist, Graciela Carnevale, nips out before locking them in. An extremely violent activation through incarceration. “There is no possibility of escape, in fact the spectators have no choice; they are obliged, violently, to participate.” Positive and negative reaction is always a form of participation. Authorship She wanted each audience member to have the experience of being locked in, of discomfort, anxiety, and ultimately the sensations of asphyxiation and oppression that go with any act of unexpected violence. The artist takes responsibility for the consequences and implications. Risk, on various levels, is present for artist and participant. The end of the work is unpredictable for both artist and participant. Dependent on whether the spectator tolerates the situation passively, if help from outside rescues those looked in, or if someone decides ‘violently’ to break the glass. Community Intended to comment on the reality of violence enacted in everyday Argentine life in 1960’s, from the media, through the police and army. The event for the body of people is a real shared experience. An outlet for the natural impulses that get repressed by a social system “designed to create passive beings, to generate resistance into action, to deny, in sum, the possibility of change.” The wider public reached through reportage and media coverage perhaps. Why have a photographer outside to document what happened. Was the picture circulated?

The best book ever drawn...

John Cage is the silent father of Steve Rage...

Last film by Mohammed Bourouissa which he shot and montaged with the help of a person in prison. They communicate by sms and all footage is shot with their cel-phones. While Mohammed Bourouissa is travelling through different countries he is instructing his collaborator when to put on the camera. (not yet much information on this work, just a bit here : http://www.panorama11.net/)

applause for Mr. Queeckers !

Applause for the Dog-Poet !

to think about the voice instead of thinking about body and mind is liberating both for a body and for a mind

philosophy as poetry

3-Iron (original Korean title: 빈집 or Bin-jip, meaning Empty Houses) is a 2004 Korean film directed by Kim Ki-duk. The plot revolves around the relationship between a young drifter and a battered housewife. The film is notable for the lack of dialogue between its two main characters.[1]

Joris Iven’s last film, directed with Marceline Lorrigan. After Pour Le Mistral (1966), Ivens tries once again to capture the “invisible”: the wind. Going back to China, Une Histoire du Vent pursues this element not only as natural phenomenon, but also as an illustration and metaphor for the changes in Society and Culture. A film where the poetic farewell of an author finds a feeling of hope in the vast landscapes of Gobi’s desert and in the reflection on the importance of art and culture.

Written in the shadow of Georg Buchner's Lenz, at razor pitch, Aliens & Anorexia defines a female form of chance that is emotional and radical. Its characters include Simone Weil, the artist Paul Thek, Kraus herself, and Africa, her virtual s/m partner who is shooting a big-budget Hollywood movie while Kraus holes up to chronicle the failure of Gravity & Grace, her own independent feature film. Arguging for empathy as the ultimate tool of perception, Aliens & Anorexia reclaims starvation from the psychoanalytic ghetto and suggests that anorexia might be an active rejection of the cynicism that this culture hands us through its food.

Maqroll the Gaviero (the Lookout) is one of the most alluring and memorable characters in the fiction of the last twenty-five years. His extravagant and hopeless undertakings, his brushes with the law and scrapes with death, and his enduring friendships and unlooked-for love affairs make him a Don Quixote for our day, driven from one place to another by a restless and irregular quest for the absolute.

Conceptual/performance art work of 1970

A catalogue of works consisting of voice recordings of famous people and piano.

exhibition at Schirn Kunsthalle Frankfurt in 2006

first animated documentary

" Woodman was photographer and model, subject and object, at the same time. She utilized the female body to develop her own self-knowledge and not some representative but generic model of the world. The images of the body that this young American was experimenting with suggest a diffuse intimacy while tending to dissuade a voyeuristic approach. Unlike most of the images we are faced with on a daily basis, where the body is treated like a commodity to be used and consumed, or an icon to adore at safe distance, Francesca Woodman employs her body to initiate a dialog with herself." Gianni Romano 1998

"In Maya Deren's Ritual in Transfigured Time we have gestures that invite us to move into step with them, abandoning the comfort of the known and giving ourselves over to so many strange partners. This silent short begins in a domestic environment, moves to a party scene, and ends with modern dance performed in an outdoor setting. The film's continuity is established by an emphasis on gesture and/or dance throughout." "Maya Deren is most commonly discussed in relation to the history of avant-garde filmmaking and the significance of her role as a woman working in a male dominated industry. Examining Deren's work in light of her connections with, and interest in, dance, foregrounds aspects thus far overlooked in critical approaches, such as corporeal performance in her films, the privileged role given to the moving body, and the influence of choreographed performance on the techniques, aesthetic and overall structure of her films. Beyond this, the gestural operations at work in a film like Ritual… can be read as a dancerly exchange between the on-screen figures that open up the action to the spectator, drawing us into the dance." Erin Brannigan 2002

film

performance

Kimberley when there were not yet 56 stars but only 55, and they were deciding to do one more

Kimberley with 56 stars

great text about the 'place' for making art in the world/ about the changing role of the artist in the world

very beautiful catalogue by a great artist!

Murakami manages a wonderful time and space reversal in his 600 pages (and worth every minute of it) novel. He skilfully leads you down the holes of his weaving pattern into worlds that cannot be put into words.

I read Verhelst’s text on the train after having attended his performance bearing the same title. The sheer physical impact of the text triggered thoughts about the physicality of text as compared to physicality on stage.

At least two stories run simultaneously. There is the “visual film” and its accompanying soundtrack that unfolds before the viewers; layered over this is the “aural action” of a supposed audience.

punk rock without mediation

performance

film

An ironic take on the Case Study House Program--initiated in 1945 by Arts and Architecture magazine in an effort to develop low-priced single-family homes by architects such as Richard Neutra and Charles and Ray Eames--German photographer Peter Bialobrzeski's Case Study Homes was shot at the Baseco compound, a squatter camp near the Port of Manila, which is home to an estimated 70,000 people.

American drama, 2007. The film is loosely based on the Upton Sinclair novel Oil! (1927). It tells the story of a silver-miner-turned-oil-man on a ruthless quest for wealth during Southern California's oil boom of the late 19th and early 20th centuries. It stars Daniel Day-Lewis and Paul Dano.

A book I conveniently read when I was 20 years old.

Forty tales from the afterlives. Carpe diem.

A "rhizomatic" book. Radical critic of Freud's psychoanalysis theory. ...

Second full-lenght movie of J.Jarmusch (1984). Economy of technical and financial measures for a strong cinematographic result.

The Body of Colour - colour, time and structure

transfiguratie, transformatie & transmutatie

a euphoric composition joining elements of melodious rock and musique concrete.

an environment or 3d constellation with objects, paintings and texts, crystalclear in outlook but with mysrtical overtones.

The Poetics of Space is a book by Gaston Bachelard published in 1958. Bachelard applies the method of phenomenology to architecture basing his analysis not on purported origins (as was the trend in enlightenment thinking about architecture) but on lived experience of architecture. He is thus led to consider spatial types such as the attic, the cellar, drawers and the like. This book implicitly urges architects to base their work on the experiences it will engender rather than on abstract rationales that may or may not affect viewers and users of architecture. It is about the architecture of the imagination.

The Practice of Everyday Life is a book by Michel de Certeau which examines the ways in which people individualise mass culture, altering things, from utilitarian objects to street plans to rituals, laws and language, in order to make them their own.

great and greater book

author of fight club, wicked twisted literature

Fake reality tv

inspiration is close family of vague intuitions. Do we breath, or are we being breathed. Air in unexpected places. Do we discover, or do we invent.

related to the first inspiration, it is also a comment on science and its place in the human condition. Why do we search? No! Where do we search?

Group of people from all around the world thinking together across a range of disciplines such as language, music, museums, math, design, architecture, mapping,sciences and tech to help shape open source technology and to foster the global intelligence.

multilenguage weblog with information and links on poetic invention- exploratory, investigate, experimental, radical poetry- of the world.

The enfant terrible of Italian stage and screen, actor-director-writer Carmelo Bene, who has died aged 64, shared the distinction with Dario Fo of being a theatrical artist who also became a literary phenomenon. Though most of his writings were for the theatre and cinema, he also published several novels and two autobiographies - one in 1983 entitled, somewhat brazenly, Sono Apparso Alla Madonna (I Appeared To The Madonna). Eccentric and gifted, Bene was undoubtedly the greatest guitto (barnstormer) of the contemporary Italian stage - a term that he relished. He succeeded in parodying the Italian histrionic acting tradition, as well as being its apotheosis. In the theatre his model was Artaud's Theatre of Cruelty, while the moderns he respected most in literature and painting were Joyce and Francis Bacon. In the cinema he had little sympathy for film-making after Buster Keaton and Eisenstein, though he once confessed to liking Godard's Pierrot Le Fou. Bene was born at Campi Salentina, just north of Lecce, a city where baroque architecture sits side by side with religious kitsch. A precocious, narcissistic temperament led him towards the acting profession, but he did not last long at the National Academy of Dramatic Art in Rome. Instead, with a director friend he set up a company and they succeeded in convincing Albert Camus to give them the rights (without payment) to Caligula. The production opened in Rome in 1959, and Carmelo shone in the title role. The next year he restaged Caligula himself, moving closer to his future iconoclastic style. He soon became a subject for scandal when, at a small cellar theatre club in Rome, the police stopped the performances of his "play", Christ '63, and accused those involved of obscenity, the Church's pretext for halting anything smelling of blasphemy. From then onwards, though his revolution was more aesthetic than political, he was adopted as a cause by the militant dissenters of the 60s. Even so, only a handful of critics understood his work, and audiences were small. Among his first, and most memorable, productions were disarmingly anachronistic versions of Manon Lescaut and Alfred Jarry's Ubu Roi, as well as very personal interpretations of Pinocchio and Hamlet, a text that he repeatedly returned to. His Hamlet was more inspired by the French surrealist poet Jules Laforgue than by Shakespeare, and he was to do five different versions of it on stage, plus a film feature in 1973, Un Amleto di Meno (One Hamlet Less), and a definitively ironical version in 1987, which he called Hommelette For Hamlet. Bene made five cinema features between 1968 and 1973, the most notable of which was the first, based on his novel and play Nostra Signora Dei Turchi (Our Lady Of The Turks), inspired by his childhood memories of Otranto, the port south of Lecce. On stage, and also on screen, he created a phantasmagorical kaleidoscope of sound and colour, expressing a nightmare vision of what happened in August 1480 when the Turkish fleet invaded Otranto and massacred 800 of the inhabitants. It was a remarkable example of avant-garde cinema, even if the Sight and Sound critic reported that "it made no sense whatever". Though Bene's film is more Mediterranean and less cerebral, his closest parallel in cinema is Peter Greenaway. However, though its one homoerotic scene probably would not impress a gay audience, this and other Bene films could also figure well beside the works of Kenneth Anger or Derek Jarman, not to mention Pasolini (in whose Oedipus Rex of 1967 he played Creon). Bene won his most deserved accolades from Italian and French critics in 1979 with a sumptuously staged and passionately declaimed version of Othello. That same year he also did a memorable concert performance of Byron's Manfred with Schumann's music, first at La Scala and then on a summer night in the ruins of Rome's Basilica of Maxentius. In this, as in his many poetry concerts, he proved that when well supported by electronics, the human voice could be "played" like a musical instrument. Afflicted with almost every illness in the medical books, and obliged to have four by-pass operations in the late 1980s (repeated in 2000), he reappeared in public in 1994 as the sole guest of Italian commercial TV's most popular late-night talk show. He held his own for two hours against the onslaught of a sceptical but bemused audience. On returning to the stage, he was given almost institutional recognition. He was even the Christmas attraction in December 1999 at Rome's major theatre, the Argentina, with a new version of Pinocchio, which combined the charm of the old teasing Carmelo with the brilliance of modern technology.

Pour en finir avec le jugement de dieu, Original recording. Edited with an introduction by Marc Dachy. Compact Disc. Sub Rosa/aural documents, 1995. He recorded Pour en Finir avec le Jugement de dieu (To Have Done With the Judgment of god) between November 22 and November 29, 1947. This work was shelved by Wladimir Porché, the director of the French Radio, the day before its scheduled airing on February 2, 1948. The performance was prohibited partially as a result of its scatological, anti-American, and anti-religious references and pronouncements, but also because of its general randomness, with a cacophony of xylophonic sounds mixed with various percussive elements. While remaining true to his Theater of Cruelty and reducing powerful emotions and expressions into audible sounds, Artaud had utilized various, somewhat alarming cries, screams, grunts, onomatopoeia, and glossolalia.

google it

first watch then make a step back from your computer sing the first song falling in your mind and pick for a while in your nose.

In 1979, Joaquim Jordá filmed a documentary about the experiment in self-management that the workers at the Numax electrical appliance factory carried out in response to the attempt by its owners to close it down in an irregular manner. The documentary was made with the express wish of the Workers’ Committee at Numax which, when the filming was almost completed, decided to invest the last 600,000 pesetas from the strike fund in recording the process that they had all been involved in. Now, Joaquim Jordá has filmed Veinte años no es nada (Twenty years is nothing), a documentary that aims to reconstruct the history of the last twenty-five years of Spain by taking the lives of the people involved in this experiment in self-management at the Numax factory as a starting point.

the "complexes" dealt with in this book are actually the pints ar which literary myth becomes focussed on its cardinal points of creation, redemption and apocalypse.

a book describing the experiences to be expected at the moment of death

Not perhaps the best or 'most true' account of the world we inhabit but surely a most inspiring, counter-intuitive and PC-free analysis of contemmporary world society. More than 1000 pages of sometimes dense conceptual tours de foreces peppered with a postmodern irony that never becomes cynical. It's a shame that Stanfard UP waits such a long time with the publication of the English translation (they have the manuscript but think the book is a toxic risk... - which it is: for thinking)

Always a joy to re-read this conceptual master-'bricolleur' who more than overcompensates a lack in systematic thinking with an 'écriture' that has set a standard for every essayist.

This is the first comprehensive monograph on the work of Francis Alys (b. 1959), which blurs the boundaries between artist and subject. Alys employs a range of media - including painting, video, and other more unorthodox materials - in innovative takes on observation, participation, and performance. Alys's work stems from his interest in the powers that shape urban existence, as well as the innovative schemes that ordinary individuals devise to subvert them. Alys invents his own fables, weaving them into the social fabric of such cities a Venice, London, and Mexico City, his home for nearly 20 years. Alys's work has been included in the world's top international exhibitions, including the Venice Biennale (2001), the Carnegie International (2004), and the Sao Paulo Biennial (2004). FRANCIS ALYS includes a survey of Alys's work by Cuauhtemoc Medina, an interview with the artist by Russell Ferguson, Focus by Jean Fisher, Artist's Choice by Augusto Monterroso, and writings by Francis Alys.

choreographer michael clark collaborating w/ Leigh Bowery (costumes), Charles Atlas (the film), and the Fall (music).

turf maze possibly more than 500 years old at Alkborough, North Lincs, England amidst 3 rivers meeting, the power stations, York Minster, the Derbyshire Peaks in the far distance & the Yorkshire Wolds3 rivers meeting, the power stations, York Minster, the Derbyshire Peaks in the far distance & the Yorkshire Wolds

The Lord sings.

The Lord brings.

A series of site-specific performances in Brussels, Vienna, Paris, Rotterdam and Zurich (2000-2001). So many images, sounds and ideas still burnt in my memory.

The closest a piece of music ever got me to crying.

Apocalyptic thinking in the contemporary Western society.

Here's life. Get real with it.

www.criterion.com/films/1517

http://en.wikipedia.org/wiki/Nan_Goldin

Kikujiro tells the story of a young boy searching for his mother during his summer vacation.

A dense interior monologue, a spellbinding work, full of a sense of farewell.

HBO television series about 2 New Zealand musicians trying to make it in New York

An ongoing series of duos for visual performer and musician called Letter Pieces, working with dancer Shila Anaraki and recorder player Tomma Wessel. Check Northern Pieces on youtube: http://www.youtube.com/watch?v=S5AURe26qLw&feature=player_embedded

book

book

"Humanity knows nothing at all. There is no intrinsic value in anything, and every action is a futile, meaningless effort."

And one more bird Then one more bird And one last bird And another

with an incredibly humane pen she describes one of many stories

his voice has the power to change your mood