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Programme Notes 13BC, Fatal Act September 21 – December 7, 2019 Piano Music by Jason Moran 2019. Stereo sound, 15 min. When Horses Were Coconuts 2019. 4K video for monitor, color, silent, 7 min. ENTRANCE LEVEL Straight Flush 2019. 2-channel digital projection, color, sound, 65 min. Act 1 2019. HD video for monitor, color, silent, loop Corpse Cleaner 2016/2019. Digital projection, color, sound, 18 min. LOWER LEVEL Straight Flush In 1959, ex-U.S. Air Force Major Claude in the United States, and straddling R. Eatherly was in the Veterans Admin- the Utah-Nevada state line along which istration Hospital in Waco, Texas. It casinos crowd, capitalizing on their wasn’t his first stay. A decade and a location as the eastern-most gambling half of botched robberies, hot checks, town in the state. For three nights prior and harebrained schemes resulted to the shoot, the military carried out in court-ordered commitment to the exercises, blacking out the electrical hospital multiple times. He was alter- grid and laying fake minefields, as 300 nately diagnosed as schizophrenic, paratroopers dropped from helicopters depressed, and “devoid of any sense to practice variations on the recapture of reality,” and he underwent insulin of a civilian airport taken by enemy coma and electroshock treatments. forces. In the days of the shoot, Civil Eatherly’s case received far more media Air Patrol Cadets marched and carried attention than other veterans whose out drills to the shouts of their com- symptoms wouldn’t be formally recog- manders, and on the final day, a storm nized as PTSD until 1980. A narrative surged across Wendover where, as luck had emerged in the trials, newspaper would have it, the clouds split around articles, and made-for-TV movies that the airport, saving the set from the began to run with, and to fictionalize, worst of the weather. These sounds the “Eatherly affair”: that his crimes, carried into the space of the barracks attempted suicides, and general inca- and the film, where Lily Gladstone, Bill pacity to become a productive member Sage, and Dana Wheeler-Nicholson of society was the consequence of kill time, gamble, smoke, and read a profound guilt over his role as the the screenplay, traversing histories military weather pilot whose “all clear” of land use, Hollywood, and military report enabled the atomic destruction testing. They play actors, scenarists, of Hiroshima. Others were uncon- and script supervisors in the process vinced, seeing him as nothing more of a rehearsal and revision of the than a con man, fraud, gambler, and liar script. Two characters appear in sound who dodged jail time by feigning mad- alone. Patrick Winczewski, a German ness and remorse. director and actor known for providing the dubbed voices of the American A letter for Eatherly arrived at the stars Tom Cruise and Morgan Freeman, hospital in 1959 and offered a different takes up the words of Anders, while explanation: that his crimes were not pianist Jason Moran composes and just the expression of an individual performs as Charlotte Zelka, the Amer- guilt asking to be punished, but also ican pianist and partner of Anders the symptom of a general condi- who typed his letters when his arthritis tion. This was the condition of living prevented him from writing. amongst technological systems of production and destruction that had Borrowing from the conventions of eclipsed the human capacity to ade- documentaries and feature films quately imagine their consequences. alike, Straight Flush remains provisional The letter was written by Günther and disarticulated, left midway through Anders, a German philosopher and a process of production. It gathers the anti-nuclear activist for whom atomic shots, soundtracks, texts, and lighting weapons epitomized and made unmis- effects that together might consti- takably visible this broader situation, tute the building blocks of a film, yet pushing the human species and the attempts to hold them in tension and world at large into a “time of the end” arrhythmic synchronization. As Eath- that could not be exited as long as erly writes, drugged from the hospi- the threat of nuclear proliferation tal, “please excuse the continuity.”2 remained. He and Eatherly began a long correspondence, which discussed 1. Günther Anders and Claude Eatherly, Burning Conscience: The Case of the Hiroshima the work of anti-nuclear organizing, Pilot, Claude Eatherly, Told in His Letters to attempts to lobby for Eatherly’s release Günther Anders(New York: Monthly Review from the hospital, and a film that never Press, 1962), 28. came to be: Bob Hope’s attempted 2. Anders and Eatherly, Burning, 77. biopic of the life and crimes of Eatherly, a film that Anders warned stridently against, arguing that it would replace him with a facsimile and falsify the most “fatal act” of the century.1 Straight Flush takes shape in the nega- tive space of this unmade film, extend- ing Anders’s rejection of the proposed movie and articulating a broader refusal of the iconic images and atomic aesthetics that shaped public memory and sought to nullify revolt against nuclear proliferation, pollution, and the exploitation of indigenous land. It was filmed in the barracks of the decom- missioned Wendover Air Force base, just north of Dugway Proving Ground, one of the largest weapons testing site Piano Music by Jason Moran Act 1 A video from 1987, one year after Cher- In Straight Flush, the recordings are The moon rises to the east over the nobyl, shows Günther Anders reading interspersed amongst the recordings barracks of the decommissioned air “Die beweinte Zukunft” (The Weeping of Winczewski’s readings of Anders’s base, and the internal filters of the Future), a story he wrote in 1961, when letters, slipping between practice ARRI Amira camera slot into place his published correspondence with sessions caught in the background and one after the other. The resulting shot Claude Eatherly comes to a close. The fragments of a score that shape the passes from dusk to day, day to night, tale reworks the fable of Noah and pathos of any given moment on screen. and back to dusk, a relentless loop of a the flood, offering a version in which Moran also plays Zelka in the sense process usually hidden between takes. Noah designs a massive fleet of arks that his music articulates a set of tenta- to safely bear all of humanity through tive compositions and recombinations A digital camera gathers information the coming disaster but is unable to which draw on her performances and by translating light into the electrical convince the rest of his species to take the composers she played. Like Straight charge stored by its sensor. This infor- the threat seriously. In this pointed Flush itself, these are neither finished mation can be processed after shooting parable of nuclear annihilation, Anders independent works nor a supplement to radically transform the appearance again insists that it is our incapacity intended to score an already completed of what has been recorded, such as to adequately imagine that dooms us film. Rather, they are provisional efforts by applying a LUT (Look Up Table), a to inaction and to simply waiting for that remain unresolved, rehearsals in set of numbers that change the RGB the “day after tomorrow”, warning (in search of a theme. color values of an image. But such the words ascribed to Noah) that when processing can also take place even the flood comes, “it will be too late to 3. Ibid. 85. before the light reaches the sensor, as remember and too late for mourning.” the neutral density (ND) filters inside In the video, Anders sits at a table, the Amira show. An ND filter aims to bent over the text he reads from. Other reduce “the amount of light reach- books are scattered in front of him, ing the sensor, with no other visible along with a small glass of wine. When effect,” in the words of ARRI’s own the camera pans slightly to keep him in promotional materials: to diminish light the frame as he leans and speaks, the evenly across the spectrum, leaving no microphone of the audio engineer juts discernible trace in the distortion of into the shot, until the camera corrects expected color. Unlike chemical film, once more and hides it from view. One however, which does not register red can’t help but notice his hands. They within the visible spectrum, digital sen- are so wracked with arthritis that the sors “require a small amount of this ‘far fingers splay diagonally across each red’ light to render skin tone as healthy other as if broken. Between one frame and vibrant,” binding this fantasy of and the next, the wine glass is suddenly neutral vision to social precepts and emptied, the cut hiding the interval in racial hierarchies outside the camera, which a pause was taken and the hands of what constitutes the healthy, the grasped the glass. vibrant, and the correct. Anders already struggled with arthri- The problem of how to modulate the tis during the time of his letters to light that reaches an eye, film, or sensor Eatherly, so much so that many of is central both to the history of atomic them were typed by his wife Charlotte weaponry and testing, and to how the Zelka, an American concert pianist. visual record of such tests became Zelka is briefly mentioned in the cor- some of the most circulated images of respondence. In addition to concerns the twentieth century. Photographs of over her health (“it is a scandal how bomb viewing parties on the outskirts much one depends on one’s body,” of Las Vegas show rows of specta- Anders writes) and her translation into tors in dark sunglasses staring at the “American” of his Commandments of none-too-distant blast with cocktails in the Atomic Age, he also acknowledges hand.
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