[vimeo 1443935 w=640 h=360]
“Apocalypsis Ex Machina is my interpretation of the Book of Revelation of John; it is an allegory of a nuclear bomb, where the ignition…
This video is comprised of footage and music for an uncompleted documentary about Liber XV, or the Gnostic Mass, by Aleister Crowley which is a central rite for Ecclesia Gnostic Catholica. Music on this video was by Hermetic Library anthology artist David Shoemaker.
“‘Accumulations 1 and 2’ combines live footage and video montage collected over a 4 year period in Los Angeles and South Florida. This work is the first in a series of FILMS that will explore many of the themes in my paintings.” — Jacques de Beaufort
“A goddess born from the sea. A white egg that turns black. A serpent man, a spider woman, and a murder. Sanctum and Sacrum opens a portal between the ancient world of myth and symbol and the banal pastels of a Florida apartment. It is a matrix of transformation, in which the lives of two couples intersect via a web made out of ritual, symbol and the ever-present origin of myth.”
“Jacques de Beaufort has created a 67 minute digital poem that continues from where Baudelaire, Rimbaud and Robert Graves left off. He cuts into the cool pastels of the Florida suburbs with the serrated edges of ancient myth and symbol. This film is the first from a multi-media genius, and it presages even greater things to come. He is a talent to watch carefully.” — John David Ebert
“I’m not looking for a friend. I’m looking for a Jedi master!”
“Empty your mind
Be formless, shapeless
Water can flow
Or it can crash
Be water my friend
Running water never goes stale
So you gotta just keep on flowing
You have to train
You have to keep your reflexes
So that when you want it, it’s there
When you want to move, you’re moving
I mean you gotta put the whole hip into it
Snap it, snap it
Become one with the *
You better train every part of your body
Running water never goes stale
So you gotta just keep on flowing
Under the sky
Under the heaven
There is but one family
Do not believe in styles
Styles separate man
It’s a process of continuing growth”
“Directed by Victor Halperin (1932)
Starring Bela Lugosi, Madge Bellamy, Joseph Cawthorn
After arriving in Haiti to meet her fiance, a blushing bride-to-be is quickly transformed into a pallid, soulless body by creepy voodoo master Lugosi, at the behest of a jealous rival who desires her. Made for $50,000 in 11 days in 1932, this interesting horror film relies more on visuals and atmosphere than dialogue. One of LugosiÂs best films from the classic era of horror.”
“Side by Side” by Dorianne Wotten, music by Hermetic Library anthology artist Exomène
A teaser of the next A/V performance Exomène and I are setting up.
Enjoy! Any comment will be appreciated :)
I got lost in life. I do not know how or why it happened. But one day I woke up and I was there. Nowhere. It seemed unreal. I liked it. I found myself by my side. “Side by side”.
Many things, if they were real, couldn’t give pleasure. However, they manage to do so through the game of fantasy. Many emotions, even troubling ones, can be a great source of enjoyment.
So, just like a child who plays, we create an imaginary world that we take seriously. We give it large amounts of affects, while we clearly distinguish the reality. But actually, what is real? What is imagination? What if both found themselves “side by side”?
It’s like a waking dream. We mobilize our intuitive, imaginative, creative and contemplative capabilities. We make this dream a mean to access to a paradoxical and illuminated reality. A reality perceived in both its lightness and its infinite absolute strangeness. To end up “side by side”.
Confusion of time, space, colors, identities. Interaction with someone which is nobody else but me. Or my image. Out of my body. “Side by side” …
Teaser de la prochaine performance audiovisuelle que Exomène et moi-même sommes en train de mettre en place.
Je me suis perdue dans la vie. Je ne sais ni comment, ni pourquoi c’est arrivé. Mais un jour je me suis réveillée, et j’étais là. Nulle part. Cela semblait irréel. J’aimais ça. Je me suis retrouvée devant moi. En “face à face”.
Bien des choses, si elles étaient réelles, ne sauraient provoquer de plaisir. Elles y parviennent cependant dans le jeu de la fantaisie.
Bien des émotions, en elles-mêmes troublantes, peuvent devenir une source de jouissance.
Alors tel un enfant qui joue, on se créé un monde imaginaire que l’on prend au sérieux. On le dote de grandes quantités d’affect, tout en le distinguant nettement de la réalité. Mais qu’est-ce qui est réel? Qu’est-ce qui est imaginaire? Et si les deux se retrouvaient “face à face”?
C’est comme dans un rêve éveillé. On mobilise nos capacités intuitives, imaginatives, créatrices, et contemplatives. On fait ainsi de ce rêve un moyen paradoxal d’accès à une réalité illuminée perçue à la fois dans sa légèreté infinie et son étrangeté absolue. Pour se retrouver “face à face”.
Confusion des temps, de l’espace, des couleurs, des identités. Interaction avec soi qui n’est personne d’autre que moi. Ou mon image. Décorporée. “Face à face”…
A video of Robert Anton Wilson at Avalon Books circa 1989. [HT Frater Pralixus]
“I hate to disillusion you, but just because you buy a book in a New Age book store doesn’t mean that everything in it is true. If you buy one of my books at least half of it is bat-shit crazy. I believe … Well, my attitude toward the readers is an absolutely sadistic one, in the sense that e e cummings used the word. e e cummings said to Ezra Pound once, ‘You damned sadist. I see what you’re up to. You’re trying to force your readers to think.’ Well, that is a pretty sadistic thing to do.”
“You’re not supposed to think. You’re supposed to repeat what you hear. And, almost all books are written on that principle. Books are written: This is the truth. I have found out the truth. I will now explain it in chapter 1. I’ll explain a little more in chapter 2. And in chapter 3, I’ll summarize chapter 1 and 2 to make sure you get it. Then in chapter 4 I’ll tell you a little more. In chapter 5 I’ll repeat it a different way. Then in chapter 6 I’ll tell you again. Now you’d better believe it. I’ve proven it. Now go tell all your friends to buy this book so they will learn the truth too. And, people who have been through our educational system, they think are thinking when they’re just repeating like parrots. So, I set out to sabotage the whole system by writing books that nobody can believe.”
“By the time you get to the end you don’t know when I’m kidding and when I’m telling the truth. And perforce, you either have to start thinking, which is how people end up in seminars like this, or they throw the book across the room and they say, ‘What is this son of a bitch up to? I think he should be banned.’ It horrifies me that somebody might believe something I’ve written. Because I know how fallible I am. I’ve had to live with myself for 58 years and I know what a schmuck I can be. And the thought that somebody’s gonna set me up as an idol and say, ‘This must be true because Robert Anton Wilson wrote it.’ That is such a terrifying thought that I perforce had to invent this style of paradox and play to prevent people from thinking they’re getting the truth out of my books. What you’re getting out of my books are my guesses, my hunches, sometimes my prejudices. … I don’t claim to know the truth. All I claim to know is little hunks of what I’ve experienced and guesses I’ve made.”
“Un homme vient récupérer son identité, volée par un ogre alors qu’il était enfant.
A man comes to get back his identity, stolen by an ogre while he was a child.”
“Four billion years of evolutionary success encoded deep within the fabric of every strand of our d n a. Four billion years of evolutionary success has brought us here. A turning point for humanity, into a new aeon. An age that has pierced light into darkness illuminating all things. Chaos has never died, the truth of this world is that no one is in control, there are no rulers, there are no masters, there are no elite. Words rule the game, words have power, place no belief in these words and alone they are meaningless. Once we come to the realization of this, then and only then can we truly liberate our minds from the illusionary chains and shackles that have held us in captivity for far too long. Many great minds have paved the way for the coming revelation, we are not alone for we stand on the shoulders of giants. The time to take control of our reality is now. This is the time to wake up, this is the time to expose all lies, this is the time we send from darkness. We are the bees, TYLER is the hive and information is the honey.
Imagine we are one.
Imagine we are united.
Imagine we are the true bearers of light.
Imagine we leak it all.
We are Anonymous.
You are Project Mayhem 2012.
United as one, divided by zero.
We will create a new world while the old world crumbles.
12.21.2012, Expect us.” [via]
Great Ball at Satan’s from a screen adaptation of The Master and Margarita
“Vladimir Bortko has become the first Russian film director to start shooting of renowned Bulgakov’s novel and not to stop half-way. All the others Russian directors once engaged in the production of Master and Margaret have actually turned out to be unable to finalize their projects. The rumors say, it is due to some mysticism… The Master and Margaret begins with two story lines: the Devil and his retinue show up to make mischief in 1930’s Moscow while Matthew the Evangelist attempts to uncover the truth about Pontius Pilate and the Crucifixion of Jesus in Jerusalem in A. D. 33. Halfway through the novel, Bulgakov unveils a third story line set in Moscow, in which the love-stricken Margarita bargains with the Devil to be reunited with her lover, the Master, a tormented writer-hero who pines away in an insane asylum. Bulgakov gradually weaves the three scenarios together, all the while exercising devilish lampoonery and wit to satirize Soviet life under Stalin. Because public discussions of religion and critiques of the government had long been punishable by a trip to the gulag, the themes addressed in Master and Margaret very rarely surfaced in the Soviet Union: many Soviet citizens read the Gospel story for the first time in Bulgakov’s narrative.” [via]