Thot for the Moment

. . . might be deleted at any moment: relational art pretty much begs to be compared to a game of Twister? It gives you an excuse to get close to people you're not sure you want to get close to, in ways you might never try otherwise; and afterward you can walk away, or not?

I'm not saying that's all it is; but even that's not so little, after most of us have been working in cubicles for decades . . .

Fusebox: Austin Video Bee's "Exquisite Bee"

Trailer:



Interview EXCLUSIVE on c-Blog!!! Hopefully. Soon?

The Starck Club

Too fun.



(Thanks, snarky!)

Recent Interview of Noam Chomsky Re- the Economy, Etc.

by Amy Goodman:

NOAM CHOMSKY: Like Larry Summers, for example, who is now [Obama's] chief economic adviser. I mean, he was Secretary of Treasury under Bill Clinton. His great achievement was to prevent Congress from regulating derivatives, exotic financial instruments. Well, that’s one of the main factors that led to the crisis.

His kind of senior adviser, one of the first, was Robert Rubin, who was Secretary of Treasury right before Summers. His main achievement—many achievements, like what he did to Indonesia and the third world, but here, his main achievement was to lead the way to revoke the Glass-Steagall legislation from the New Deal, which protected commercial banks from risky investments. It broke down those barriers. Immediately after having done this, he left the government, joined Citigroup as a director, and they began to make huge profits, including him, from picking up insurance companies and so on and making very risky loans, relying on the “too big to fail” doctrine, meaning if we get in trouble, the taxpayer will bail us out, which is just what’s happening, taxpayers now pouring tens of billions of dollars into rescuing Citigroup.

Well, these are the advisers who were supposed to fix up the system. Tim Geithner was right in the middle of this. He was head of the New York Federal Reserve, so, yes, he was supervising these actions. Now, you know, you can argue about whether they’re doing the right thing or the wrong thing, but are these the people who should be fixing up the system?

Actually, the business press just had some interesting things to say about this. Bloomberg News, you know, main business press, had an article in which they reviewed the records of the people who Obama invited to his economic summit. I think it must have been last November or December. They just reviewed the record. I think there were a couple dozen of them. People on the—you know, people like, say, Stiglitz, Krugman, they were never even allowed close to it, let alone anyone from the left or labor and so on, given token representation. So they went through the records, and they concluded that these people should not be invited to fix up the economy. Most of them should be getting subpoenas because of their record of accounting fraud, malpractice and so on, and helping bring about the current crisis.

* * * * *

AMY GOODMAN: Why do you think Obama chose to surround himself [with people like Summers]?

NOAM CHOMSKY: Because those are his beliefs. I mean, his support comes from the—his constituency is basically the financial institutions. Just take a look at the funding for his campaign. I mean, the final figures haven’t come out, but we have preliminary figures, and it seems to be mostly financial institutions. I mean, the financial institutions preferred him to McCain. They are the main funders for both—you know, I mean, core funders for both parties, but considerably more to Obama than McCain.

You can learn a lot from campaign contributions. In fact, one of the best predictors of policy around is Thomas Ferguson’s investment theory of politics, as he calls it—very outstanding political economist—which essentially—I mean, to say it in a sentence, he describes elections as occasions in which groups of investors coalesce and invest to control the state. And he takes a look at the formation of campaign contributors, and it gives you a surprisingly good prediction of what policies are going to be. It goes back a century, New Deal and so on. So, yeah, it can predict pretty well what Obama is going to do. There’s nothing surprising about this. It’s the norm in what’s called political democracy.

Ok, arguably massively violating copyright here; but check out this segment:

NOAM CHOMSKY: Well, healthcare is a dramatic case. I mean, for decades, the healthcare issue has been right at the top of domestic concerns, for very good reasons. The US has the most dysfunctional healthcare system in the industrial world, has about twice the per capita costs and some of the worst outcomes. It’s also the only privatized system. And if you look closely, those two things are related. And the privatized system is highly inefficient: a huge amount of administration, bureaucracy, supervision, you know, all kinds of things. It’s been studied pretty carefully.

Now, the public has had an opinion about this for decades. A considerable majority want a national healthcare system, like other industrial countries have. They usually say a Canadian-style system, not because Canada is the best, but at least you know that Canada exists. Nobody says an Australian-style system, which is much better, because who knows anything about that? But something like what’s sometimes called Medicare Plus, like extend Medicare to the population.

Well, up until—it’s interesting. Up until the year 2004, that idea was described, for example, by the New York Times as politically impossible and lacking political support. So, maybe the public wants it, but that’s not what counts as political support. The financial institutions are opposed, the pharmaceutical institutions are opposed, so it’s not—no political support. Well, in 2008, for the first time, the Democratic candidates—first Edwards, then the others—began to move in the direction of what the public has wanted, not there, but in that direction.

So what happened between 2004 and 2008? Well, public opinion didn’t change. It’s been this way for decades. What changed is that manufacturing industry, a big sector of the economy, has recognized that it’s being severely harmed by the highly inefficient privatized health system. So, General Motors said that it costs them over a thousand dollars more to produce a car in Detroit than across the border in Windsor, Canada. And, you know, when manufacturing industry becomes concerned, then things become politically possible, and they begin to have political support. So, yes, in 2008, there’s some discussion of it.

Now, you know, this is very revealing insight into how American democracy functions and what is meant by the term “political support” and “politically possible.” Again, this should be headlines. Will a proposal come that approaches what the public wants? Well, we’re already getting the backlash, strong backlash. And what private healthcare systems are claiming is that this is unfair. The government is so much more efficient that they’ll be driven—there’s no level playing field if the government gets into it, which is true.

So much more here; please read the whole dam' thing.

Scalia Pwned by Law Students; Flips Out

"Every year, Fordham University Professor Joel Reidenberg teaches a class on Information Privacy Law. As a demonstration of the widespread availability of information on the Web, he usually asks his students to use free, publicly available tools to find out everything they can about him and compile a fact sheet.

"But this year, Reidenberg decided to do something different, and give his students a new challenge:

"This year, after U.S. Supreme Court Justice Antonin Scalia made public comments that seemingly may have questioned the need for more protection of private information, Reidenberg assigned the same project. Except this time Scalia was the subject, the prof explains to the ABA Journal in a telephone interview.

"His class turned in a 15-page dossier that included not only Scalia's home address, home phone number and home value, but his food and movie preferences, his wife's personal e-mail address and photos of his grandchildren, reports Above the Law.

"And, as Scalia himself made clear in a statement to Above the Law, he isn't happy about the invasion of his privacy.

"The last sentence above completely understates the nature of Scalia's anger. It was absolute rage -- in other words, after finding out that what the class had on him, he FLIPPED OUT and immediately issued a pissy statement attacking the good professor."

More at Daily Kos.

Fusebox: "No Dice" by Nature Theater of Oklahoma

Conceived and directed by Pavol Liška and Kelly Copper.

It's more an activity to be engaged in, starting out with ordering your free sandwich, than a performance to be observed.

I love the ideas in the script, the humor of the acting and costumes, etc., of course; but a key part of what makes this piece one of the most exciting things I've experienced in a long time is that it invites the audience to notice there's a dance/game going on concurrently with the actors' conversations, and successfully lures them to engage in the dance/game of trying to figure it out and how it relates to various levels of "reality." Our experience as audience was kind of like a continuation of the same processes the company used in creating and performing No Dice, starting with paying close attention to seemingly mundane conversations and then conversing with one another about what we think is going on.

I can't resist mentioning something my fave prof. in college (Alarik Skarstrom), pointed out, that the roots of the word, "conversation," mean "'to live with, keep company with, literally 'turn about with' . . . ." (see etymology here). In conversations repeated to the point of ritual, the actors in No Dice suggest something similar: "I think you're on the right track; I think things are starting to turn around . . ." [emphasis supplied].

Maybe the game we're lured into trying to figure out, taken by itself, is kind of dumb. Maybe it's just a trick to get us to renew our attention to eternal truths. Maybe it's just something to give us a pretext for connecting in ways or to people we hadn't planned on.

"Only connect." This advice is often attributed to Marshall McLuhan, who used the phrase well; but apparently it originated with E.M. Forster, with a somewhat different sense: "Only connect! . . . . Only connect the prose and the passion, and both will be exalted, and human love will be seen at its height. Live in fragments no longer."

No Dice reminds us it's the intent that counts, and the actions you're sufficiently inspired to undertake, not just the words; that connection is an activity, in which we continuously choose to try – or not – to hear what the other was trying to say, not just a passive state; that art and life are continuous, except for those artificial distinctions we create for our own use, or fail to question.

It was a very fun journey, and as they say, it's the journey that matters.

So, I haven't come up with a better way to describe this piece further than to share my notes, below, mostly taken during the first 2 hours of this nearly 4-hour tour de force. SPOILER ALERT: since part of the joy and, I think, the meaning of No Dice is having the experience of figuring it out for yourself, if you haven't already seen it and think you may have the chance, stop reading now! (There's a tour schedule on the company's website at oktheater.org.)

A lot of these notes are shortened versions of what the actors were saying. My notes got more detailed as I became more convinced something worth noting was going on; then slacked off once I felt I'd figured out enough to relax and enjoy:

We're in a conference room with risers for the audience. There's a rather elaborate, obviously "theatrical" curtain/frame for the front of the "stage" area; other than that and a few office chairs, almost no set.
Catman, one-eyed, and a cowboy, working in an (invisible) factory. Slavic accents w/ French twist (or Bosnian)?
Gal in red wig and fishnets: Are you working?
I'm coding cars [?] – for a Walmart in Oklahoma.
Do you get compliments?
No.
[Not cars; it's TARs: Time Adjustment Request forms.] Employees if punch-in; want to go on vacation.
Work 9 - 6, no pay for lunch break.
Can steal soda and pens. No stickies. But paperclips.
Work is good. Because I get bored here.
Redhead (who just encouraged him to steal sodas and pens): My job is to perk you up, make people more productive. To make what they're doing into art.
Cowboy: I'm supposed to be in a film.
Next on: Pirate with Hasidic curls and big beads.
[They're all wearing earpieces.]
"Dinner theater." It's fun because the costumes are goofy and it's like community theater and they try so hard, you have to love them. Food is part of the experience.
I'm just trying to find what makes us feel alive and gets us through the day.
What gets me through the day is seeing the cosmic dance.
Things go unrecorded, the creativity that we use – We take it for granted. We don't make anything out of it. How do we transform that cosmic murmur so we can see it. So we can hear the cosmic murmur constantly. [Punky blond is playing keyboard.]
Pirate's working on a story: he's been working on it 25 years.
Love quadrangle [but there are 5 on stage.]
People expect a story. But is it really necessary to have a story in order to tell people stuff?? Some people can't tell stories, so they need someone who can do it for them, because people need that in their lives.
[Directed acting? They all have earpieces.]
Catman starts singing wordlessly.
Reference to Moscow Cat Theater. Russian accents?
Before that, pirate told a story about a magicians' library or archive, which was in "complete disarray."
[Script v. peripatetic – no real story. Timing often off; emotions frequently inappropriate.]
And you, you are having second thoughts about your life's mission?
I wish I would have some solid first thoughts so I could have some second thoughts.
Next, discussion of alcoholism.
Then workaholism.
I'm not eating, I'm not smoking, and I'm not drinking, because I'm talking. But at least I'm not watching tv. Discussion of all the tv she does watch.
Characters have a certain repertory of hand gestures they repeat, whether appropriate or not:

• gripping bicep of other arm
• finger-f*cking
• finger-snapping
• one hand swooping in a curve w/ 2 fingers pointing
• one hand twisting near head as if turning off hearing
• hands swooping back and forth in parallel
• hands forming a loose globe in front of one
• hands pointing/jabbing in divergent directions
• stroking an imaginary, waist-height fat-roll
• tapping one's stomach or solar plexus
• one hand gesturing as if pulling something out of one's *ss
• one hand petting the other
• etc.
  

They're using these throughout the performance.
Close-together scene: I think you're on the right track, I think things are turning around, getting better, although real estate may never be good for us.
Note all characters sound like struggling actors in NYC.
Back to the factory. Cowboy may be sick. Discussion of Emergen-C and Claritin D. Can't afford to get sick, too much to do.
Has an audition.
You should act like a celebrity.
Ritualistic conversation closing: I think you're on the right track. Series of cliches about things turning around, "Even though real estate may not be the most generous to us." Words not exactly the same each time. "I think we're working our way towards each other."
Scene changes to dark, dramatic light: a gal in green gown and feathered headdress wants to be a diva. Her emotion is very sad even while laughing – very appropriately inappropriate.
Back to normal, daylight scene. Cowboy's friend got fired. Competition among remaining employees to process TARs quickly.
Tell me a story.
I came up with a great idea for a commercial for m&ms. People eat the m&ms and they make them dance in different ways, depending on the color. m&ms' or other sponsorships for the actors' company, to make more money. Cigarette commercials during breaks from their epic theater production.
[Talk about this production: short version would be 4 hours.] This idea would be completely original with us. So, like, don't tell ANYONE.
[The actors start dancing one by one, in different ways. Then they start overlapping, and it speeds up. The dances incorporate the hand gestures, in fact they're composed of them, at least upper-body. Then all in unison doing the exact same dance; maybe they were, all along, just with different styles?]
Discussion of various male actors including Mel Gibson.
[They're definitely re-playing scenes – still not sure the words are exact, but very close – but the roles are shuffled. Also, the scenes are in a different order.]
"Everything needs to be seen as a sign."
What makes me feel alive is being connected to the cosmic dance. It's like seeing your world from a distance. Imagine if you could hear the cosmic murmur. We don't hear ourselves, we just talk. The creativity that we use to talk right now, it all goes unnoticed and unrecorded. We take it for granted; we don't make anything out of it. How can we transform this cosmic murmur into something we can notice, to feel that connection? How can you go through your day hearing music constantly?
I could do this: my favorite scene from Celine and Julie Go Boating [what is this?]
[Meanwhile, Catman has apparently shaved his head and grown a mustache; NO, it's a different guy, dressed the same.]
Redhead dancing and singing with thick French accent now, You're a bunch of voyeurs, cosmic voyeur pimps! She "accidentally" knocks off her hat and red wig.
The punky blond speaks for the first time: We don't like to say when we go out or come in because we prefer to be here, I think. The question is, how do we enjoy ourselves while we're here with one another?
Fifty years ago, conversations were much shorter and much higher quality. Conversation was a form of enjoyment. One might even describe a civilization in terms of conversation.
[Room darkened; long, scrolling video projection of script, with original audio recording, of real conversation between Pavol and maybe his mom, who is confined to a wheelchair but has five younger male friends who take her dancing nonetheless. Apparently much of the script for No Dice was taken from such conversations.]
At the end, the actors all take off their wigs, etc., and address the closing conversation to individual members of the audience: "I think you're on the right track . . . ."

Not sure it's clear from the notes above, but there's a lot of very energetic dancing in the course of this production, as well as laughs.

After the show, one of the actors confirmed they'd used the exact same gestures throughout the performance, in the exact same order, and explained that all the gestures came from three sources: (1) 13 gestures from a magician's act, (2) a video of disco dancing, and (3) Pavol's mom (a different mom than the one whose conversations were used in the script). The earpieces were to iPod-type devices which, if I understood correctly, were each playing the same script; but as the hours went by, gradually got a bit out of sync with each other (presumably as intended). Which role was played by which actor depended on where that actor chose to place her- or himself onstage in that scene – so each performance is at least slightly different.

There's a good video about the company by Cast Your Art here, in which the artists explain they used playing cards to determine the sequence of the gestures. The script was culled from over 100 hours of recorded conversations.

There's a helpful discussion of the movie, Celine and Julie Go Boating (1974), directed by Jacques Rivette (which was referred to in No Dice but which I still haven't seen), at Combustible Celluloid, in which the author, Jefferey M. Anderson, explains,

Many critics have read many things into this movie, but the key thing to remember is that Rivette was a member of the "Cahiers du Cinema" team . . . . These . . . directors all learned movies by watching movies. Therefore, the drama that takes place inside the haunted house--in which the characters repeat the same lines over and over and do the same things over and over--is in effect like watching a movie. Celine and Julie at first become characters in the movie as well, unable to break out of their routine. It's not until Celine and Julie have been in the house several times that Rivette even shows us different camera angles of the action.

One possible explanation is that Celine and Julie Go Boating is a fantasy where Rivette and the audience can enter into a movie filled with ghosts and change things around. . . . The other important thing to point out is that Celine and Julie Go Boating seems primarily focused on the joy of cinema. Truffaut once said that a movie should represent either the joy of making cinema or the agony of making cinema--anything in between did not interest him. Celine and Julie Go Boating has magic, poetry, singing, lots of laughter (the actresses seem to have giggle fits every time the camera is on them), as well as the ghost and murder story.

A third explanation for the movie is that it seems like we're watching realism; the long takes and natural sound. When in reality the whole creation is one of pure cinema. There is no reality in this movie. In a perfect world, there would be an old movie palace somewhere that plays Celine and Julie Go Boating over and over.

Nature Theater of Oklahoma's website is here. Additional reviews or articles covering the piece well can be found at The NYT here and here and at Time Out and Variety.

By the way, the company's name comes from Franz Kafka's first, unfinished novel, Amerika:

Personnel is being hired by the theater in Oklahoma! The Great Nature Theater of Oklahoma is calling you! It's calling today only! If you miss this opportunity there will never be another! Anyone thinking of his future, your place is with us! All welcome! Anyone who wants to be an artist, step forward! We are the theater that has a place for everyone, everyone in his place! If you decide to join us, we congratulate you here and now! But hurry, be sure not to miss the midnight deadline! We shut down at midnight, never to reopen! Accursed be anyone who doesn't believe us!

The Ultimate Wedding Dance

I recently had to miss the wedding of some of my fave friends. Fortunately, someone sent me the video, here, ;).

True love.

Fusebox: A Few More Faves, and a Temporary Conclusion

Grub, by tEEth, was terrific, and Way Out West, the Sea Whispered Me, by Cupola Bobber, was magical. The Practice Practice Practice show at Lora Reynolds Gallery, curated by Michael Smith and Jay Sanders, includes nearly three hours of video plus lots of other work. A performance by the multi-talented Reggie Watts was hilarious and musically amazing (plus he has the best hair since Sideshow Bob). And I'm still excited about No Dice by Nature Theater of Oklahoma.

During 7 days, I attended 27 productions (some more than once, and some distinctly participatory), averaging close to 5 per day, plus did fair amounts of partying and inter-city driving. But those who created and organized what I saw worked a heck of a lot harder, overcoming many last-minute challenges, full details of which may never be generally known. Many thanks to all of them, especially Artistic Director Ron Berry, for a fabulous festival and for making it possible for me to be there! It was a tremendous learning experience for me on many levels, and I had a fantastic time.

If you participated in Rotozaza's GuruGuru, you'll remember "Dicky."

Money and God just happened to be standing around in my room at testsite, which, by the way, also housed a truly fascinating exhibit by Justin Boyd and Nick Tosches – another fave.

I may write more about No Dice, GuruGuru, and/or Kalup Linzy's Keys to Our Heart (see also my previous posts on Fusebox).

UPDATE: You can find my longer descriptions/discussions of Nature Theater's No Dice here and of Kalup Linzy's Keys here.