Dupes of Non-Physical

http://fivebodied.com/archives/audio/ca ... fheart.mp3


Bob Neveritt

BOB:

"Stand Up To Be Discontinued"
On Don Van Vliet as Painter and Musician
Written by Paolo Bianchi
http://www.beefheart.com/index.html
> "... His painting is at home in the interstices, the in-between areas of life, including excavations, caves, holes, and deserts...."

The above is backup for what I said 20 years ago in my book:

PHATIC COMMUNION WITH BOB DOBBS, 1992 (see Beefheart below):

http://www.fivebodied.com/viewtopic.php?t=343&start=0

[172 - Bob: ".... since the mixed-media corporate version are the
actors and their archetypes; then, what do we call the artist? The
entertainment figure would have to be an appendage of those effects.
If mixed media effects are the corporate actors in the global solar
theatre; the prominent artist would mix and mime the subtleties, the
nuances between the interplay of these media.

They have to be proficient and charismatic in all media involved in
order to have any staying/lasting power.

For example, here's what I propose: this is an update of what I said
a year ago. You take Frank Zappa as specialist form of artist. He
sculpts kinetic and acoustic space effects via visual space bias."

302 - "OK, if you think of the kinetic environment as movie and car,
the acoustic as radio and speech, the visual as book, photo,
newspaper, geometry. And the computer and television as tactile;
let's try Burroughs. Burroughs visualizes kinetic and acoustic and
old tactile space effects."

Dublin: "Old pieces of newspapers cut up and rearranged."

Bob: "That's the visualizing of the American and radio, occult and
extra sensory ESP groups which I'd call the old tactile, not the new
electric tactile."

318 - "Notice I don't say sculptures, 'cause he visualizes, he uses
print media."

320 - "CAPTAIN BEEFHEART: he sculptures visual and acoustic space,
poetry and music via old tactile space bias. The Paleolithic ESP,
pre-Agrarian, pre-civilized modality." (Dublin triggered into
dinosaur/fossil recollection by the word, "Paleolithic".)

350 - "You take LaRouche, he sculptures - 'cause he's political -
kinetic and visual space, the American environment and book and
geometry effects via acoustic space bias. More like the radio image -
part of the hot media spiral retrieval that Reagan was - and acoustic
is the perceptual bias of his trying to articulate process in
geometry and geometric form."

358 - "I then would say, the supreme artist would be McLuhan, because
he sculptures kinetic, acoustic and visual space effects via a
tactile space bias. In other words, he's the one who's more accurately
the appendage of television."

404 - "This could be something to follow in the future; how the Irish
deal with this new atmosphere of human scale."]


Bob Dobbs

BOB: This is my follow-up post on the matter (especially note the MM quote):

On 19 Dec, 03:28, dark_matter <dark_mat...@sympatico.ca> wrote:
> "Stand Up To Be Discontinued"
>
> On Don Van Vliet as Painter and Musician
> Written by Paolo Bianchi
>
> http://www.beefheart.com/index.html
>
> "... As Paul Nizon has pointed out, all of these roles and tasks now belong, once and for all, to the past: for no artist can ever again unite these functions in his[/her] own person, or attain such superhuman, humanistic significance...."



This is why relevant art criticism can only be forensic and would begin with this statement:

".... since the mixed-media corporate version are the
actors and their archetypes; then, what do we call the artist? The
entertainment figure would have to be an appendage of those effects.
If mixed media effects are the corporate actors in the global solar
theatre; the prominent artist would mix and mime the subtleties, the
nuances between the interplay of these media. They have to be proficient and charismatic in all media involved in order to have any staying/lasting power."

And why Paolo Bianchi, in his statement above, has only arrived at 1945:

[There is a sense in which at least literary and artistic discussion may benefit from the advent of the atom bomb. A great many trivial issues can now, with a blush, retire from guerrilla duty and literary partisans can well afford to cultivate an urbane candor where previously none had been considered possible. Perhaps Malcolm Cowley's recent appraisal of William Faulkner may be viewed as a minor portent of even happier events to come. LA TRAHISON DES CLERCS may come to an end since the atom bomb has laid forever the illusion that writers and artists were somehow constitutive and directive of the holy ZEITGEIST. In colossal skyletters the bomb has spelt out for the childlike revolutionary mind the fact of the abdication of all personal and individual character from the political and economic spheres. In fact, only the drab and deluded among men will now seek to parade their futility and insignificance in public places. This is more than the very vigorous and very human egotism of artists and writers is prepared to swallow. It was one thing to indulge in the lyrical megalomania of being a "revolutionary" writer when mere political affiliation absolved one from a too strenuous artistic discipline and assured reputation and audience. How easy it was then to concoct or to applaud a plastic or poetic bomb designed to perturb the unyielding bovines, and, at the same time, to feel that the metaphysics of human welfare were being energetically pursued.

It is quite another thing to look around today {1945 - ed.}. The destructive energy postulated by the revolutionaries is here, and it is vastly in excess of any available human wisdom or political ingenuity to accommodate it. Of course, Marx had always pointed to the revolutionary process as technological rather than political or literary. His austere concept of "man" and the universe was rigorously monistic and technological - a perfect expression of the cynical sentimentality of an era. Like the affirmations of Calvin and Rousseau those of Marx are rooted in the negation of the human person. But technology hath now produced its masterpiece. The Brick Bradford brains of modern laboratory technicians, the zanies of big business, fed on the adventures of Tarzan and detective thrillers, have finally given adequate physical form to the romantic nihilism of nineteenth-century art and revolution. Every human cause has now the romantic charm of a "lost cause", and the irrelevance of proposed human ends is only equaled by the likelihood of the annihilation of human beings. Even the "lost" cause of the South begins to assume intelligible and attractive features for a great many who formerly assumed that it was more fun to be on the side of the big battalions. In fact, the "Southern cause" is no more lost than that of the present-day left-wingers, whose literary production, for that matter, has been dependent on the creative effort of men like Hopkins, Eliot, and Yeats, whose own allegiance was in turn given to the seemingly most forlorn of causes....] - Marshall McLuhan, The Southern Quality, SEWANEE REVIEW, Volume 55, July, 1947, pp.357-83 (Reprinted in The Interior Landscape: The Literary Criticism of Marshall McLuhan 1943-1962, 1969, pp.185-86)

However, today {2010}, quadrophrenic paramedia criticism is the platform for the forensic perspective on the recently departed Android Meme:

http://www.earmap.com/tinynote/tinynote.html


Bob Dobbs

interesting audio with iON on Beefheart- would you consider a take on John Lear the son of William Powell Lear ?

_________________

http://www.americanfreedomradio.com/arc ... 111810.mp3

A recent John Lear interview by Freeman(14th minute)

"I'm not even here I just stick around for my friends."

http://www.rollingstone.com/music/news/ ... y-20101217


Bob Dobbs