Master Musicians of Joujouka
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1 Synthesist Imaginary and Recylage Mark Bartlett the SF Writer Is Able To
Synthesist Imaginary and Recylage Mark Bartlett The SF writer is able to dissolve the normal absolute quality that the objects (our actual environment, our daily routine) have; he has cut us loose enough to put us in a third space, neither the concrete nor the abstract, but something unique, something connected to both and hence relevant… Philip K. Dick I Kindred spirits are rare. So when Shezad Dawood and I met, and discovered that we were both fascinated by ufology, obsessed with science fiction, had a love for esoterica, and a deep distrust of rationalism and aestheticism, we began an exchange that has been fecund indeed. So I will be personal and playful here, which is appropriate because both he and I are committed to a very different discourse and type of inquiry than what the myth of objectivity offers. Because there are stakes in both writing and art, we are committed explorers of cliff edges, aporias, paradoxes, and gravitate to loci where well-defined boundaries and disciplines break down, where well-established methods and aesthetic forms fade out so that other experiences, knowledges, and perceptions can fade in. In order to put the reader in the right frame of mind for what follows, I’ll mention three points on the long arc through time that will at least give a skeletal shape to the problem of semiocentrism, by which I mean the dominance of language over all aspects of the non-linguistic, over art. The first goes back to ancient Greece. You may recall that Socrates refused to write. -
"4000-Year-Old Rock & Roll Band" the Master Musicians of Joujouka Throw
In Morocco, "4,000-year-old rock & roll band" the Master Musicians of Joujouka throw a three-day tribal trance festival – for 50 lucky travelers By Suzanne Gerber June 12, 2015 Touted by William Burroughs and the Rolling Stones' Brian Jones, the Master Musicians of Joujouka throw a yearly tribal trance party in Morocco for just 50 attendees. James Hadfield High in the southern Rif mountains of northern Morocco, just before midnight, a buzz begins to radiate through the groups of sprawled attendees decked out in colorful robes, hippie skirts and flowing Western clothes. Wordlessly we edge up from supine to seated, and rearrange ourselves in casual semicircles, all eyes on the 13 men in ceremonial brown djellabas parading up the front of the stage, which is to say the carpeted chill-out area of a three-sided tent done up in red and green tribal fabric. Horn squeals and drum taps puncture the silence, come faster and gradually knit into melody and rhythm. A yowl of high-pitched ghaita horns pierces the air, reverberating from every direction, despite the lack of walls. Five different kinds of drums thunder into a rhythm, then syncopate and alternate, creating layers of polyrhythms. Almost involuntarily, people make their way to their feet and begin dancing to the pounding drums, the energy among the audience escalating until it's reached the same fever pitch as the players'. And just when it seems like the music is reaching a climax, rhythms change, horns shift gears and the tsunami of sound starts to recede and slowly build all over again. -
Un-Thinking Systems Shezad Dawood in Conversation
UN-THINKING SYSTEMS: SHEZAD DAWOOD IN CONVERSATION WITH SARA RAZA Sara Raza 24 February 2012 Engaging with a wide range of media, and executed across numerous networks and locations, Shezad Dawood’s work questions set parameters, both practical and conceptual. Pop culture, Sufism and structural filmmaking are just some of the elements that are regularly cited in his far-reaching practice. Dawood also explores ideas about mutability and hybridity, and here discusses work that will feature in his show at Modern Art Oxford, which runs from the 4th of April to the 10th of June 2012. The show includes New Dream Machine Project (2011), a film work and installation that examines Beat artist Brion Gysin’s stroboscopic flicker device and continues a series of investigations for which Dawood won the Abraaj Capital Art Prize in 2011. Sara Raza: You have been working quite a lot in the MENA region and although Ibraaz’s focus is on the MENA, we’re trying to look at different dislocations and disconnects within the MENASA region but also beyond, interviewing various artists who are based in the diaspora but also several of those who are contesting these ideas about territory, geography, cartography and set ideas about visual cultural practice within those parameters. So, I’d like to start by discussing your practice, which is heavily multi-faceted; you layer many ideas, you explore many different mediums and you play with various genres in art history. Not an art history related to a particular region but often across different spaces and borders that are perhaps yet to be discovered. -
Beat Generation Writing and the Worlding of U.S. Literature Zachary Mccleod Hutchins, Editor, Community Without Consent: New Perspectives on the Stamp Act Kate A
WORLDBeat Generation Writing BEATS and the Worlding of U.S. Literature JIMMY FAZZINO World Beats re-Mapping the transnational A Dartmouth Series in American Studies series editor Donald E. Pease Avalon Foundation Chair of Humanities Founding Director of the Futures of American Studies Institute Dartmouth College The emergence of Transnational American Studies in the wake of the Cold War marks the most significant reconfiguration of American Studies since its inception. The shock waves generated by a newly globalized world order de- manded an understanding of America’s embeddedness within global and local processes rather than scholarly reaffirmations of its splendid isolation. The se- ries Re-Mapping the Transnational seeks to foster the cross-national dialogues needed to sustain the vitality of this emergent field. To advance a truly compar- ativist understanding of this scholarly endeavor, Dartmouth College Press wel- comes monographs from scholars both inside and outside the United States. For a complete list of books available in this series, see www.upne.com. Jimmy Fazzino, World Beats: Beat Generation Writing and the Worlding of U.S. Literature Zachary McCleod Hutchins, editor, Community without Consent: New Perspectives on the Stamp Act Kate A. Baldwin, The Racial Imaginary of the Cold War Kitchen: From Sokol’niki Park to Chicago’s South Side Yuan Shu and Donald E. Pease, American Studies as Transnational Practice: Turning Towards the Transpacific Melissa M. Adams-Campbell, New World Courtships: Transatlantic Alterna- tives to Companionate Marriage David LaRocca and Ricardo Miguel-Alfonso, editors, A Power to Translate the World: New Essays on Emerson and International Culture Elèna Mortara, Writing for Justice: Victor Séjour, the Mortara Case, and the Age of Transatlantic Emancipations Rob Kroes, Prison Area, Independence Valley: American Paradoxes in Political Life and Popular Culture Jimmy Fazzino World Beats Beat Generation Writing and the Worlding of U.S. -
Bright Narrow Spaces
SHEZAD DAWOOD ABRAAJ PRIZE-WINNING MULTIMEDIA ARTIST SHEZAD DAWOOD IS ONE OF THE MOST COMPLEX AND DYNAMIC YOUNG TALENTS AT WORK TODAY BRIGHT NARROW SPACES SARA RAZA REFLECTS ON DAWOOD’S MULTIFACETED, DYNAMIC PRACTISE IN CONVERSATION WITH THE ARTIST... 84 | Harper’s BAZAAR ART | SUMMER 2012 SUMMER 2012 | Harper’s BAZAAR ART | 85 SHEZAD DAWOOD SHEZAD DAWOOD (Left) ‘Until The End Of The World’ (Installation view) (2008) Courtesy: Mathaf: Museum of Modern Art, Doha “The world consists of the unity of the unified, whereas the Divine Independence resides in the Unity of the Unique.” IBN ARABI* nspired by Sufi mysticism, Shezad Dawood’s artistic Set in the Lancashire city of Preston, ‘Trailer’ was developed since 2009 practice has revealed itself in recent years as offering a as part of a commission for the UK-based public art curatorial project ‘In relatively uncharted and unexpected take on Certain Places’, with Dawood spending considerable time researching contemporary Islamic cosmology. Embracing a archival materials on the history and urbanism of Preston and meeting with multifaceted practice, the London-born and based artist various groups from a variety of different social and religious demographics provides nourishment for new revelations in as well as paranormal investigators to develop the context for the film’s contemporary visual culture that draw from the legacy of narrative about covert extraterrestrial ‘aliens’ inhabiting the city within the Islamic Sufi doctrines as a means of exploring his body of terrestrial beings. However, embedded within the film’s narrative longstanding interests into the study of post-migratory lies a much wider discourse on the issues of otherness, race and migration aesthetics concerning race, ethics and their subsequent and the transformation of the city as a possible whole world within a city, impact on local culture and globalisation. -
Supervivencias En Jajouka Algo Bueno Viene Hacia Ti (2012) De Marc Y Eric Hurtado1 Por ANDRÉS DAVILA*
LA DELEUZIANA – REVISTA ONLINE DE FILOSOFÍA – ISSN 2421-3098 METAMORFOSIS Y REPETICIÓN NUMERO ESPECIAL – 1/2020 Supervivencias en Jajouka algo bueno viene hacia ti (2012) de Marc y Eric Hurtado1 Por ANDRÉS DAVILA* Abstract Based on Marc and Eric Hurtado’s film Jajouka, Something Good Comes to You (2012), this article analyzes some correspondences between ethnographic and artistic practices. The notion of sur- vival (Nachleben) is used to create correspondences between this film and the work of artists such as Paul Bowles, Brion Gysin, William Burroughs and Pier Paolo Pasolini. Through these elements, an attempt is made to understand migration and persistence capacity against time of the survivals evoked in Jajouka. A través del film Jajouka algo bueno viene hacia ti de Marc y Eric Hurtado (rodado en el año 2012 en una comunidad de músicos sufís de Marruecos), este artículo analiza ciertas confluencias entre la práctica etnográfica y la práctica artística. Especialmente, en la obra de artistas como Paul Bowles, William Burroughs y Brion Gysin (a quien está dedicado el film) quienes durante los años cincuenta residieron en Marruecos. Estos dos últimos, vislumbraron el trasfondo vital de las supervivencias pre-islámicas, presentes en la música extática de los Maestros Músicos de Jajouka, protagonistas del film de los hermanos Hurtado. Por una parte, la noción de supervivencia (Nachleben), proveniente de la antropología y utilizada por Aby Warburg para acercarse a una «complejidad de los modelos del tiempo», alejada de una noción cronológica de la historia, es utilizada en este artículo para poner en relación las migraciones y las metamorfosis que atraviesan a la figura pagana de Boujeloud (en árabe, el hombre de las pieles), supervivencia del dios griego Pan y figura central de los rituales representados en el film. -
Ethnographic Research in Morocco: Analyzing Contemporary Artistic Practices and Visual Culture
ETHNOGRAPHIC RESEARCH IN MOROCCO: ANALYZING CONTEMPORARY ARTISTIC PRACTICES AND VISUAL CULTURE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Maribea Woodington Barnes, B.A., M.A. The Ohio State University 2008 Dissertation Committee: Approved by Dr. Patricia Stuhr, Adviser ________________________ Adviser Dr. Christine Ballengee-Morris Art Education Graduate Program Dr. James Sanders III Copyright by Maribea Woodington Barnes 2008 ABSTRACT Over the last several decades numerous scholarly articles and books have been published on Moroccan art forms. Yet, these studies have consistently examined Morocco’s traditional works or its older forms of artistic practices. Specifically, Morocco’s ceramics objects and textiles are among the most commonly examined works. As a result of this emphasis, only a partial view of Morocco’s rich artistic production has been presented. Currently, Moroccan Art is consistently viewed as static and the 19th century western Orientalist image of Morocco has more or less remained. Visual Culture within the country and beyond its border continues to reinforce these antiquated perceptions. To identify the range of works of art produced within Morocco, a multi- method ethnographic approach was utlized. Using information drawn from fieldwork conducted in Morocco in 2002, 2004, and 2006, contemporary artistic practices were examined and anylzed within a social and historical context. Personal narratives from my fieldwork in 2006 added layers of information to enrich my study of Moroccan art and culture. My findings revealed that Morocco’s rich historical past includes a multiplicity of cultures and influences. -
David Livingstone
SABILILLAH PUBLICATIONS TRANSHUMANISM The History of a Dangerous Idea All Rights Reserved © 2015 by David Livingstone No part of this book may be reproduced or transmitted in any form or by any means, graphic, electronic, or mechanical, including photocopying, recording, taping, or by any information storage retrieval system, without the written permission of the publisher. Sabilillah Publications AEN: 978-1515232575 Printed in the United States of America “And (God said): O Adam! Dwell you and your wife in the garden; so eat from where you desire, but do not go near this tree, for then you will be of the unjust. Then Satan whispered to them that he might manifest unto them that which was hidden from them of their shame, and he said: Your Lord forbade you from this tree only lest ye should become angels or become of the immortals.” – The Quran, “The Heights” 7: 19-20 Table of Contents Introduction 1 1 Magic & Mysteries 5 2 Alchemy 15 3 The Rosicrucians 21 4 The Age of Unreason 33 5 Survial of the Fittest 47 6 Occult Revival 63 7 Shamanism 73 8 The Round Table 85 9 Bloomsbury 95 10 The Modernists 101 11 The Blond Beast 113 12 Neoliberalism 123 13 Brave New World 133 14 Cybernetics 143 15 Central Intelligence 157 16 Mind Control 167 17 The Beat Generation 179 18 The Church of Satan 193 19 The Computer 207 20 Hail Discordia! 219 21 Postmodernism 235 22 Chaos Magick 249 23 The New Age 257 24 Entheogens 269 25 Cyberpunk 285 26 Technopaganism 295 27 Occulture 305 28 Transhumanism 315 29 The Singularity 327 Endnotes 337 Introduction Paranoia The greatest success of so-called democratic societies in the developed world, in escaping the dissent and criticism that destroyed failed experiments like the Soviet Union, has been their ability to disguise their systems of political control as independent from the state. -
Freier Download BA 105 Als
BAD 105 ALCHEMY [B]eliefs about the essential goodness or beauty of the world are fundamentally paper-thin bullshit. Zadie Smith So then the big moral question is: How do I live with that terrible truth? I keep thinking of Robert Stone making the distinction between the word sublime and the word beautiful. He described being in a battle as sublime. George Saunders Alle Musik der Welt sagt alle Dinge der Welt - ich meine natürlich des Universums -, und das ist alles, was es überhaupt gibt. Es hebt sich alles gegenseitig auf. Die Posaune wird erschallen! Tut sie. Ihr Berge, brecht in Jubel aus. Tun sie. Joanna Russ Lukas Bärfuss - Hagard Dietmar Dath - Niegeschichte Alfred Döblin - Wallenstein William Gibson - Virtuelles Licht André Gide - Sämtliche Erzählungen M. John Harrison - Nova Swing Kazuo Ishiguro - Als wir Waisen waren Christian Kracht - Die Toten Hans Lebert - Der Feuerkreis Klaus Mann - Mephisto Thomas Mann - Bekenntnisse des Hochstaplers Felix Krull Robert Menasse - Die Hauptstadt Orhan Pamuk - Rot ist mein Name Christiane Rochefort - Frühling für Anfänger Joanna Russ - Wir, die wir geweiht sind... George Saunders - Lincoln in Bardo Judith Schalansky - Der Hals der Giraffe João Silvério Trevisan - Ana in Venedig W. Somerset Maugham - Um dieser Tränen Willen. Erzählungen Recommended: Ted Gioia -> http://www.thenewcanon.com/ -> http://www.conceptualfiction.com/ -> http://fractiousfiction.com/ -> http://www.postmodernmystery.com/ 2 »Potlach« * Es war 1969 oder 1970 als wir, noch halb Kinder, gelegentlich im Potlach in der Elefanten- gasse vorbeischauen „durften“. Zu einer Zeit in der einige Würzburger Lokale Langhaarige nicht bedienten, schnupperten wir im Proberaum der einheimischen Band BLUES CAMPAIGN an der Welt von Sex 'n' Drugs 'n' Rock'n Roll. -
Edge48d Thebrinkpart
DESTROY ALL RATIONAL THOUGHT PART 2 Page 1 of 5 By Paul H Here is Part 2 of my interview with writer, musician and art-terrorist Joe Ambrose. Along with fellow musician, cultural historian and writer Frank Rynne, they organised The Here To Go Show, which took place in and around Dublin in the early nineties. The film, Destroy All Rational Thought, which documents many aspects of the Here T Go Show, is now available in an enhanced edition, on DVD. I wanted to look into some of the individuals who contribute performances, in one shape or another, to the Destr All Rational Thought DVD, and their impact during the Here To Go Show. In Part 1 we talked about the influence the Tangier Beat Scene and picked out some of its characters. I would like to return to this and start back on arguably its most well known figure, William Burroughs. Paul H: Lets just re-establish Burroughs` influence and significance, as it relates to this scene`s genre and the Destroy film. Joe, you spoke of him as a trail-blazer in Part 1, who left his mark on so many aspects of 20th cent culture, can you elaborate on what you meant ? Joe Ambrose: Hardboiled fiction, hip hop, literary fiction, songwriting Lou Reed or Dylan-style, painting very muc so, punk rock in a fundamental way, cyberpunk, comic art, experimental cinema, style, science fiction… these ar just a few of the areas he touched. PH: The autobiographical nature of the Scene`s artists and writers within their work was a significant step away from the writer portrayed as superhero, as was the convention previously.