Contents Replicating New Strains Page 4 Jonathan Levine Interview By Bruce Fletcher Page 5 . ,A Toxic G,uide .from Greenpeace Page 15 Brain machines By Belinda Atkinson Page 22 William Gibson biography By Tom Maddox Page 24 ZING, ZANG A Comic from Brad Lambert Page 26 William Gibson Interview By Darren Wershler Henry Page 28 The Two Sides of Tom Maddox By Bruce Fletcher Page 36 Now I Lay Me .. Down To Sleep Fiction by Bruce Fletcher Page 40 Molester A poem by Yassin 80ga Page 44 Frank Ogden: Laws of the Future Page 45 Television Magick By T. o. P.Y. U.S. Page 48 The A.D.'o.S.A. recommends Page 58 Clippings Page 64 Virus 23, 1989. C\O BOX 46 G)Share-Right 1989 RED DEER, ALBERTA, You may reproduce this material if your recipients may also reproduce it. CANADA. T4N 5E7. Front cover: Video-Head - Donald David. PAGE4 VIRUS 23, ISSUE 0 eplicating new Reality begins with the human mind. The human nervous system filters, categorizes and distorts the external universe until the individual can truly be said to create the world in which they live. The process of enculturation by itself usually creates the reality in which most people live. Thought is imposed by the cultural environment. Values, beliefs and even behavioral paradigms are detcnnincd by the social status quo. People live in a shared illusory reality, a consensual hallucination, without realizing its true nature, thereby abscond­ ing themselves of all personal responsibility. They believe they know truth. Individuals have the potent.ial to control these illusions, foster individual thought and promote rapid changes within the existing socio-cultural mileau. Aleister Crowley called this process mag­ ick. "Magick is the science and art of causing change to occur in conformity with wilL" When one substitutes a modern metaphorical system, magick transcends the popular connota­ --------Paul Pype - Visionary tions of archaIC ntuafs--ancfpapcrback psychology. commodity, and the means to manipulate it within our reach. Crowley views every intentional act as essentially Information is more than facts and figures. It is the real of magickal. Therefore, the technological evolution of the mind; fact, fiction, art, craft, emotion _and reason, in the human animal is a return to the magick of the short it is the sum total of what it is to be human. In a sense, tribal shamans. We manipulate the world with the information age is the era of satiation of the mind as every tool at our disposal. Virus 23 is a medicine well as the body. bag. The primary issue of the Infonnation Age is control. Who We discover and produce a vast array of tools controls the information and who can control it? Broadcast and techniques alter our conscious perceptions of television. Hollywood, the recording industry, government reality. Today television is the most intrusive. and business are all devoted to the centralization of informa­ McLuhan said that technologies are "extensions tion. Now, however, the individual is capable of transmitting and self-amputations," of the human body. Commu­ a message without bureaucratic intervention (in the medium nications and information-processing-technology of your choice). fonn extensions of the human nervous system. By The viral metaphor is particularly appropriate for these controlling the symbolic content flowing through troubled times, viruses transmit infonnation, whether DNA, these extensions, one can influence the global ner­ computer programming, or cultural mutagens. Spreading vous system for which Philip Dick coined the tenn ideas alters our cultural environment in much the same way VALIS (Vast Active LIving Intelligence System). that a virus causes disease; the information spreads and In the 1960s, when McLuhan wrote his analysis eventually takes over the entire organism. But, as David of media, television was a centrally controlled Cronenberg once said: "Disease is the love of two alien manipulation tool. It still is, but -we now have the kinds of creatures for one another." potential to control our own screens with video We do not aim for death, merely transmutation and sym­ recorders, cameras, Hypermedia and personal com­ biosis. ~1utation of the whole from within. puters. Not only can we decide what we watch, and Reality is subjective. The individual must be frcc to create when we watch it, we can also create it. and explore their own possibilities, and the most important This is all part of a larger phenomenon; the Infor­ toll is the mind itself. mation Age. Increasingly, the global economy is Virus 23 is dedicated to the dissclnination of information, devoted to the creation and exchange of informa­ the meat of the mind. This infornlation is yours to take; tion, as opposed to material goods. Information is a ideas can never be owned. PROVOKING DISCOMFORT PROVOKES THOUGHT Jonathan Levine in New York with the shock wave cannon. "Behind nle is THE CONTAINER, \\'hich, in Ne\\' York, served as workshop\video production CR\bedroom in addition to machine conveyance." Behind the scenes at SRL: A conversation with Jonathan Levine By Bruce Fletcher put on a show. Based in San Francisco, the Survival Research Labo­ In the last couple .of years, they performed in New ratories are entering their second decade of chaotic York, Amsterdam, and Copenhagen. Their European 'mechanical destruction, as they continue to turn mod- ' tour is documented in an incredibly entertaining video'; ern warfare technology into 'harmless' entertainment. The Will to Provoke: An Account of Fantastic Huge, dangerous machines, flamethrowers, Shock­ Schemes fqr Initiating Social Improvement by wave Cannons, and dead animals figure prominently Jonathan Reiss. The tape provides a wonderful in the apocalyptic performance art they create. overview of the performances and SRL's underlying philosophy, which includes the desire to siphon oft Mark Pauline formed SRL in 1978, after taking the some of the talent that currently goes into the defense name from a o~e-shot ad in Soldier of Fortune, Matt industry. One of the more revealing segments details Heckert joined him in1981, and Eric Werner started the effects of SRL's smoke generator during a housing in1982. They formed the core of the group; however riot in Amsterdam. SRL allowed the rioters to 'steal' the like any organization, SRL mutated through the years. machine, and it shows up quite well in the police' They may now employ up to one hundred people to videotape of the event. PAGE 6 VIRUS 23, ISSUE 0 Their last full-scale sh(}\v. Illusiolls of ShaTneless It bUll- , get hold of Mark be-cause of that answering m·achine. dance: /Jegelzeratillg ;1110 an Uninterrupted Sequence of Ilus/i/e /~IlC(}UIl/ers, was held in a San Francisco parking lot B~': l-Iow did you first get involved? on May 28,1989. Since then, SRL won the Arl~pace's 1989 Sculpture Grant Award, and set up an indoor installation for JL: The way most people get involved with SRL. You talk the SUlllrner at the Arl~pace in San Francisco. to friends, you sec a few clips on the news late at night, and you bump into some magazine articles,and you find yourself This was nlY first opportunity to sec the machines in person, thinking, "Goddam, wouldn't it be cool to work with those and the experience was truly awe-inspiring. \Vhen I walked guys. They look like they've got the neatest toys around." So into the Artspace, I had to sign a release absolving the you either show up at the doorstep if you live in the neigh­ g;lllery and the artists of all responsibility if anything unto­ borhood, or you start by trying to phone them if you don't \vu'rd should befall me. So, when I was handed safety gog­ live in the neighborhood. You Find out what's up and gles and earplugs, I promptly put theln on. It was a good whether or not they can usc your particular talents. It's kind thing I did. The sho\v consisted of four machines: the Scrab­ of tough to figure out, when all you've got to work from arc bler (which reminded me of a crippled dog futilely trying to press clippings and various articles from different sources. stand), the, Finger (a jointed appendage that knocked chips You never know if these guys are going to be very approach.;. : frOlTI the cinder blocks in the wall \vith a scythe that able - what the working situation is, whether there's any: chopped \vildly at its end), the Clacker Balls (two large money available, or any of that sort of thing. But the first. Ineta) balls hanging from frayed bungie cords), and a Shock­ week of '87, I finally broke down and got their numbers' \vave Cannon mounted on the roof. Undoubtably, the most from directory assistance. I'd been seeing clips on the news exhilirating mOlnenl of my vacation occurred when the Can­ and lots of articles, and I called them up and said, "Hit I'm a non blasted nle in the chest (accidently, I discov~red later) computer-engineer; I live up in Canada eh, and I'd kinda like [roln a couple of ITIetres away. All in all, a very good time! to work with you guys." The response was pretty indifferent. \Vhile I \\'a5 there I happened to meet a felIo\v Albertan, It was like, "Oh yeah, that's real cool, but we're really busy Jonathan Levine. Luckily for me, he's a really nice guy, a trying to get ready for ashow now, so why don't you send us natural story-teller, and completely accommodating. something about yourself, and we'll get hack to you." So I Jonathan is a Inachine operator and cOlnputer designer for thought, "A show coming up! The hell with sending some­ SRL.