Brian Eno – Page 27 – { feuilleton }

Tiger Mountain Strategies

Taking Tiger Mountain (By Strategy) is familiar to those of us in the decadent west as the title of Brian Eno’s second solo album, released in 1974. Eno borrowed the title from a set of Chinese postcards depicting a performance of a Maoist opera, and you can now see a copy of those very postcards here.

“The modern revolutionary Peking opera Taking Tiger Mountain by Strategy, carefully revised, perfected and polished to the last detail with our great leader Chairman Mao’s loving care, now glitters with surpassing splendour.

“Taking Tiger Mountain by Strategy is one of the outstanding model theatrical works. It describes an episode in the great Chinese People’s War of Liberation, a battle in which a pursuit detachment of the Chinese People’s Liberation Army wiped out a Kuomintang die-hard gang in northeast China. The opera creates the brilliant images of Yan Tzu-jung and other proletarian heroes by the method of combining revolutionary realism with revolutionary romanticism, and eulogizes Chairman Mao’s great thought on people’s war. The successful creation of the modern revolutionary Peking opera Taking Tiger Mountain by Strategy is a splendid victory for Chairman Mao’s revolutionary line on literature and art.”

Eno produced his own set of strategic cards with artist Peter Schmidt (who painted the cover of Tiger Mountain) a year later, Oblique Strategies, “Over one hundred worthwhile dilemmas.” Originally an expensive limited edition, these are now available in a variety of freeware applications or online versions. Best one if you’re among the 17% of Mac-users visiting this site is probably the Dashboard widget, the latest version of which includes the texts of all three editions. The instant access nature of OS X’s Dashboard is especially suited to small information systems such as this.

Previously on { feuilleton }
• Exodus art and Plague Songs
• Generative culture
• My Life in the Bush of Ghosts

Exodus art and Plague Songs

Saturday 30 September 2006 Exodus Day in Margate. Commissioned and produced by Artangel

My name is Pharoah Mann and I’m going to change the world. And I’m going to start now by doing what politicians never do. I’m going to say sorry.
Pharoah Mann, Margate 30 September 2006

Plagues of lice, locusts, frogs and flies, a 25-metre high sacrificial sculpture and a cast of thousands will dramatically transform the south coast town of Margate into a colourful and contemporary setting for an epic film inspired by the Old Testament Book of Exodus, in which the town’s residents will play all of the parts.

The Margate Exodus brings together international artists led by Penny Woolcock, including sculptor Antony Gormley, and songwriters Rufus Wainwright, Brian Eno and Imogen Heap, alongside local musicians, singers, actors, costume-makers and set-builders to create a timeless story of identity, migration and the great movement of peoples across the world in search of a promised land. Written and directed for Artangel by acclaimed filmmaker Penny Woolcock, the story of Exodus is told for the present day as a feature film for theatrical release and Channel 4 broadcast in 2007.

Exodus Day on Saturday 30 September takes place in Margate’s town centre, at the Winter Gardens, along the Seawall, through the streets and in the Dreamland funfair. The day opens with Pharaoh’s impassioned election victory speech and ends with an epilogue of fire and water on the coastal path. High above Dreamland towers Antony Gormley’s ominous Waste Man, a giant combustible thrift store sculpture, standing 25 metres tall. Filled with the collective detritus of consumer society and hand built by the local community using abseilers and pulley systems, Waste Mansignals a decisive turning point in the Exodus story and an enduring beacon for Exodus Day.

During the day, a cycle of Plague Songs written by international singer-songwriters and inspired by the ten biblical plagues in the Book of Exodus, are performed by local musicians and singers at the Winter Gardens. A diverse range of musical forces from hurdy-gurdy to hip-hop have been uncovered through auditions held by voice coach Mary King of Channel 4’s Operatunity and musical director and multi-instrumentalist David Coulter. Rufus Wainwright has taken a personal approach to the Death of the First-Born whilst Scott Walker brings about Darkness. Cody ChesnuTT communicates a higher authority with Boils and Martyn Jaques of The Tiger Lillies evokes Hailstones. Brian Eno and Robert Wyatt take wing together for Flies, Laurie Anderson mourns the slaughter of cattle for Death of Livestock and Imogen Heap conjures up a swarm of locusts in the ecstatic Glittering Cloud. A CD of the songs performed by the original singer-songwriters will be available for Exodus Day and on general release in October on 4AD.

The large-scale photographic project Towards a Promised Land, by Wendy Ewald also plays a part in the day’s events. These banner photographs of children who have relocated to Margate from places near and far are sited in various locations around the town. The audience follow an audio trail of the photographs by collecting a headset from a central pick-up point in town or downloading the audio trail as a podcast from the Margate Exodus website. A book of texts and images co-published by Artangel and Steidl, will also be available.

It is anticipated that a great many people from Thanet will take an active part in this ambitious project and that Exodus Day will attract a substantial audience from Kent, London and beyond.

Klashnekoff : Blood [Plague of Blood]
King Creosote : Relate The Tale [Plague of Frogs]
Stephin Merritt (The Magnetic Fields) : The Meaning of Lice [Plague of Lice]
Brian Eno & Robert Wyatt : Flies [Plague of Flies]
Laurie Anderson : The Fifth Plague [Death of Livestock]
Cody ChesnuTT : Boils [Plague of Boils]
The Tiger Lillies : Hailstones [Plague of Hail]
Imogen Heap : Glittering Cloud [Plague of Locusts]
Scott Walker : Darkness [Plague of Darkness]
Rufus Wainwright : Katonah [Death of The Firstborn]

www.themargateexodus.org.uk

Previously on { feuilleton }
• Generative culture
• Wyatting
• The Drift by Scott Walker
• My Life in the Bush of Ghosts

20 Sites n Years by Tom Phillips

Tom Phillips has long been one of my favourite contemporary artists and he’d certainly be my candidate for one of the world’s greatest living artists even though the world at large stubbornly refuses to agree with this opinion. Phillips’ problem (if we have to look for problems) would seem to be an excess of talent in an art world that doesn’t actually like people to be too talented at all (unless they’re dead geniuses like Picasso) and a lack of the vaunting ego that propels others into the spotlight.

Phillips is predominantly a painter but a restlessly experimental one. On my journey through the London galleries in May I visited the National Portrait Gallery, a rather dull place mostly filled with pictures of the rich and famous by the rich and famous. There were two Tom Phillips works on display in different rooms, inadvertently showing his artistic range: one, a fairly standard (if very finely detailed) portrait of Iris Murdoch, the other a computer screen showing a portrait of Susan Adele Greenfield which manifested as an endlessly-changing series of 169 processed drawings and video stills. One work was static and traditional, the other fluid, contemporary and unlike anything else in the building.

Continue reading “20 Sites n Years by Tom Phillips”

Generative culture

77 Million Paintings by Brian Eno, Laforet Museum, Harajuku, Tokyo.

Brian Eno is in the latest Wire talking about his forthcoming DVD-ROM, 77 Million Paintings. He also mentions coining the term “generative music” in 1995 to a resounding silence. 77 Million Paintings continues the generative project:

This will be available later in the year as a DVD-ROM (which will play on most modern computers) and a DVD featuring Brian talking about the project. It also includes an extensive booklet covering Brian’s long and successful career as a visual artist.

The name 77 Million Paintings comes from the possible number of images that can be created from a huge number of combinations. Anyone familiar with Brian’s audio-visual installations will instantly recognise the inspiration behind the project. The music is from Brian’s installation collection.

Ambient stuff for the eyes, in other words. I’d be looking forward to this if I still had a TV (mine packed up a few years ago) as I used to program my primitive Spectrum computer (which still works!) to generate simple patterns, turning the TV screen into an abstract artwork for a few hours. The difference with Eno’s project, of course, is the greater variety, quality and degree of intent involved. I saw one of his installation works, The Quiet Club, at the Hayward Gallery in 2000 which used similar audio and visual processes. With 77 Million Paintings you’ll be able to turn your living room into a quiet club of your own.

In a similar generative vein, there’s WolframTones: “A New Kind of Music – Unique cellphone ringtones created by simple programs from renowned scientist Stephen Wolfram’s computational universe.” Too complicated to explain; go and play around with it.

Wyatting

These are people after my own heart as this is something I’ve been doing for years with jukeboxes. Usually the challenge was to find the weirdest thing in the whole selection of records which would often be a B-side of some sort. “Wyatting” seems a rather unfair name for something that’s annoying people (although if it’s going to be named something it may as well be after the wonderful Robert). If it’s irritation you want then “Merzbowing” (see below) would seem more apt, not least because of its relation to the Dada works of Kurt Schwitters.

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Wyatting (vb): when jukeboxes go mad by Ned Beauman

Just as the best way to judge an adult is by his or her record collection, the best way to judge a pub is by the albums on its jukebox. Or it was, until the 21st-century caught up with the noisy machine in the corner. There are now nearly 2,000 internet-connected jukeboxes in the UK, each of which can access as many as 2m tracks – and with them has come Wyatting, which is either a fearless act of situationist cultural warfare or a nauseatingly snobbish prank, depending on who you ask.

The phenomenon was first identified in the New York Times by Wendy McClure. She was in a grimy rock bar when someone pulled up Brian Eno’s Thursday Afternoon, which consists of a single distant piano phrase repeated for more than an hour, and found herself too mesmerised to leave. “Imagine replacing the brass cylinder in a music box with a Möbius strip made from nerve endings,” she wrote. The rest of the bar’s patrons , however, were soon in revolt.

This wasn’t to be an isolated incident. After music critic Simon Reynolds linked to McClure’s article on his weblog, several of his readers wrote in to confess that this is a game they regularly play. Carl Neville, a 36-year-old English teacher from London, coined the term “Wyatting” because sticking on Dondestan, the 1991 avant-garde jazz-rock LP by ex-Soft Machine singer Robert Wyatt, is the perfect way to disrupt a busy Friday night in a high street pub. Other favourites are free-jazz clarinetist Evan Parker and surrealist Japanese noise producer Merzbow. In theoretical terms, Wyatting has been explained as enacting the theories of Adorno, who believed that subverting pop music would help to bring down capitalism. Alternatively, if you listen to Neville, it’s simply “childish, futile, but finally hilarious”. (More.)