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March 30, 2006

i can't afford it

What I really mean is, I have some bigger things I want to do with my money (like saving for moving to Europe) than waste it on trivialities here in San Francisco. This is my new motto, "I can't afford it". I'm going to be out about my lack of money and open about the fact that I will say no to the little things and yes to the big things. I'm working not because I am interested in living it up in San Francisco, I'm working because I want to move to Europe someday and travel more. I still want to experience northern Africa. The cherry blossoms in Tokyo are calling my name!

March 29, 2006

why jazz doesn't speak to me

The other night I went to a jazz concert in San Francisco. It was contemporary free jazz, and I knew of one of the musicians, and respected his percussion work quite a lot. I thought I might review it for New Music Box, as a kind of exercise. If you can write an effective review of a genre which you really dislike, that's a success of some kind, right? So I thought. I won't mention who the band was but I quickly realized that I had nothing to say about them. Well, what I mean is, I had a lot to say but it wasn't very polite. I realized that it wasn't so much that I hate jazz, it was more that I just could not understand anything it was saying and the performance was just, well, irritating. Irritating like someone you're not attracted to but who is interested in you, and they won't leave you alone. Jazz keeps wanting to seduce me but I wish it wold just go away. While listening to the band, I took some notes:

"I don't know what it says, where it's been, whose brain cells it passed through to get here but I hate this music. I hate jazz's inherent homophobia and its incapacity for clear statement. I hate its reliance on vagery and slipperiness. I don't like that it is only able to say one thing, musically speaking, which is 'I stopped now, aren't you surprised?' I hate its reliance, on boring cliche and its macho attitude. My capacity for surprise has been taxed by [__________] and now it is completely worn out, [_______] has taken it as many places as it can go and now I'm tired. Kerouac.. Boring..."

springtime in san francisco

Oh... There just is no time to keep this blog updated regularly, and it's not for lack of things to talk about, that's for sure. I'd love to discuss the impact of reading William T. Vollmann's Europe Central or how My First Recession has changed the way I think about community and communication on the internet. And I'll get to those eventually, it's just that with my part-time job, writing a SuperCollider patch for a piece by Rob Manthey in Holland, working on Lee's webpage, collaborating with several people on music projects, going to a lot of shows (there are some interesting things scheduled in San Francisco for once), and trying to have something like a social presence amongst my friends, well, the blog tends to get left to the end of that list. But I can see a resurgence on the horizon, spring is here which, in San Francisco, means cold damp rainy days: perfect weather to tap the latest thrills of my life online.

One thing I am happy about, having returned to San Francisco, is reuniting with my little studio workspace, as seen below.

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March 23, 2006

a bold moral statement from germany's high court

Germany's highest court, last month, struck down a law which would have allowed fighter jets to shoot down hijacked planes if they were to be used in a September-11 type attack. The court's logic was to the effect that by allowing the planes to be shot down, the passengers would be reduced to mere objects and this was incompatible with basic human dignity.

My first reaction upon reading this was one of respect, finally a government has articulated in a clear way what should be common sense. Of course Air Force planes should not be shooting down passenger jets. If it has to come to the point where this is so easily morally acceptable then something is extraordinarily wrong with the culture. I think, to Americans, the idea of inherent human dignity and the notion that we have inalienable rights (even to life itself) has receded so far back in our collective consciousness that we have completely forgotten what was at one time a basic tenet of the culture. We seem to now be ready to accept a government that will decide which of us are allowed to live and which should die, whose lives are more important than others.

In a recent episode of 24, a frightening series about a rogue but "good" US anti-terror agent, the question was put to the viewers in a very vivid way, if you can save more lives in the end by allowing some to die now, what would you do? The question was presented in such a way that the obviously rational answer was, of course you just allow some to die now. (By the end of the show, happily, everyone was saved, in Hollywood style). It's as though the culture has accepted that these are normal decisions one has to make, the world wants to kill us so we will slide down this slippery slope of ethical compromise and extraordinary cynicism as far as we have to. We will accept that torture is necessary, we will trust our government to kill the "insurgents" without ever even being curious as to how many truly innocent people have been killed. Or even how many "insurgents" are completely innocent. And we should never ask why so much of the world hates this country to begin with, that would lead to a self-questioning which is positively un-American.

I applaud Germany in its uncompromising stance, it gives me hope to know that there is at least one part of the world where the majority of the population seem to have their thinking put together in a rational way and are not interested in moral compromise and cold, cynical decision making.

March 20, 2006

lucky lisp wasn't wasted on you

I'm reconnecting with Morrissey. I grew up with him, we used to be close but we went our separate ways for quite a few years. Honestly, I had forgotten about him until I read this Douglas Coupland "anti-interview" interview in the Guardian. Coupland writes about how upon meeting Morrissey in a bar, he couldn't quite go through with the interview, at least not with a tape-recorder and a list of questions, it just felt too ridiculous. So he made a few observations about Morrissey, like this:

"I think that he's pulled so far into his shell that, save whatever friends and family he has, he's genuinely become what he once pretended to be - that reclusive glumster we all fell in love with."

Which is fine, if he was to become any self-made persona, that one works for me. Coupland also notes how on this new album, Morrissey, at 46, is finally getting his pronouns right, like:

'Then he motions to me
with his hand on my knee
...
Now I'm spreading your legs
with mine in between'

Wow, and it sounds like he's not even celibate anymore...

March 16, 2006

your job becomes you

I've been interested lately in how many brands are known as Mr. (something), Like Mr. Clean or Mr. Espresso. I guess this evokes the feeling that the person is taking their job so seriously that they literally become their work, their name becomes their job. I wonder what my name would be if I was known as the work I do? I'm not sure if I ever want to be that specialized.

March 13, 2006

reaction to the post-american meme

Nick Currie (aka Momus) has a very interesting series of posts on Click Opera recently about the state of being post-American. It was sort of a relief to read his well-articulated description of this situation, of being American but being over America at the same time, as I have been struggling with how to describe this in myself.

Nick quotes some neo-con Mark Krikorian in the National Review pejoratively describing the post-American as someone who "may actually still like America, but the emotion resembles the attachment one might feel to, say, suburban New Jersey." I'd make an amendment to that statement: it's not like the feeling one might have for suburban New Jersey, the situation is more akin to the feelings one might have for a retarded uncle. He's a schizoid semi-suicidal nincompoop but you have to see him at breakfast in the morning and deal with the insanity he shoves in your face. Ignoring him isn't an option because he's so loud and sort of dangerous, nor is dialog, which would require a level of intelligence that is just simply not present. So you cope. That's how I feel being back here, as though I am coping with America, my dear retarded uncle.

But at the same time, that is America in the generalized sense, and while totally accurate, it loses sight of the dots of beauty that are here. The local islands of relative sanity are very special as well. After returning from Berlin, it was such a pleasure to spend the afternoon with my friend Heather Heise bowing and scraping percussion instruments, making strange breathing sounds with her accordion, recording it all for a theater project she is working on as well as our own duo project. I have this amazing collection of sounds to play with now, and that's how I'm spending the rest of my day today. I love the community of people here in California who are wide-eyed and experimental and maverick in their thinking.

Or another example of what is great about this place, spending yesterday with Lee rummaging through the countless bins of music at Amoeba records, afterwards having very nice draft Belgian beers at Toronado in the lower Haight, where they seem to always be playing Rush's 2112 album. These are the things that make it OK, these are the kinds of people and places that exist here and possibly nowhere else that make this a magical place to be as well.

I think it takes a focus on the local to survive in America today. If one looks at the big picture, as any sane person should, it's a grim if not depressing sight. The future outlook for this country is not a good one, and the present is pretty awful as well. The general culture of the USA is caught in a downward spiral of greedy, bitter, insecure, childish, hedonistic, and ultimately suicidal paranoia. After three weeks in Berlin there's nothing I'd love more than to hop the next KLM flight and plant myself right back in Mitte, never to leave again, to be free from this place. But I can't, not yet anyway. What I can do is find those things that I love here in San Francisco, and join in with them and help them become even better, hoping somehow that it makes a difference. There is a lot to be said for leaving what you hate to find the place that speaks deeply to you, but sometimes sizing up the reality of the place where you are, and figuring out how you fit in and how you can improve it, while exhausting and frustrating, can be extremely rewarding as well in a very different sometimes surprising way.

March 8, 2006

today, back in san francisco, i'm not going to try to say anything big about berlin or europe but i will post some pictures

Images from Hamburg


Performance at the very cool Zentrale Randlage

In Berlin

The Walter Store window in Antwerp (check out those amazing shoe/bag combos)

March 7, 2006

a new book

Today on the plane I started reading My First Recession by the Australia-based Dutch internet critic Geert Lovink. It's fascinating, he's calling for a complete reinterpretation of the way cultural theorists understand the internet, questioning the degree to which so many theorists have naively swallowed the marketing hype without question. He also challenges the "common-sense" approach of Lawrence Lessig, critiquing Lessig's theoretical foundations in a belief in free-market/American ideals. He also takes on the quasi-New Age idealism of the early internet pioneers, questioning the notion of community as it applies to internet activities. Throughout, Lovink is very optimistic though, seeing this time of weblogs and open source software as a kind of post-90's renaissance of internet culture. His writing is one of the first propoganda-free highly lucid readings of the way society and the internet interact. I can't wait to dig into this book more on that 10 hour KLM flight to San Francisco I'm currently staring down.

a poignant finish to a fabulous stay in berlin

Last night, our final night in Berlin, we saw the performance of Pulverschrift Berlin 1. Für Luise by Yoko Tawada performed by Lasenkan Theatre. I became aware of Tawada's fiction right after returning to San Francisco after living in Holland a couple of years ago. I love her descriptions of the confusion felt while in cultural limbo, the kind of hazy air of misunderstanding, mild resentment, and psychological dissonance that surrounds people who are trying to connect with a foreign culture, whether it be upon returning to their native culture after living abroad or while living in a foreign land. She is familiar with this theme, being Japanese and currently living in Germany. She often connects the many cultural dots between Germany and Japan, a sort of fascinating area to explore, I think.

The play last night followed in this theme, presented by three female actors and a kind of prop man controlling the slide projections and cleaning up onstage after the action took place, occasionally taking part in the onstage movement as well. Two of the other actors were Japanese, the third German. The theater piece was full of grunted accidental Japanese and grandiose Germanic pronouncements, with the actors taking turns playing historical political figures like Napoleon, rolling around in white powder on the floor, and wearing childish costumes. At one point they were moving as Sumo wrestlers but speaking in heavy thick-lipped German. Silly, absurd, surreal, and incredibly well-acted with amazingly stylized movement, this theater was mesmerizing. I only wish Lasenkan Theatre would hire me to do their sound design! Hey, that would mean I'd have a job waiting for me in Berlin, a brilliant excuse to go ahead and move there.

March 6, 2006

antwerp

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I heart Antwerp. In a big way. That little town is oozing style. The fashion there is still the most interesting I've seen, melding contemporary art and architectural aesthetics into wearable textiles. Of course the picture above isn't about that, I just thought it was funny they had a mannequin feeling himself up.

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Lee and I were there for about three days, relaxing, eating, and generally just giving ourselves a serious vacation. One of the highlights was getting to see my friend Rob Manthey, a composer living in Holland who came over to Antwerp for an afternoon of shopping and dinner. Yes Rob, you should go back and get that edgy motorcycle jacket, it looked great on you.

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I also bought some glasses, after looking everywhere for about four years for a frame that I loved I finally found the Belgian line Theo. I can see what I've been missing and I think my eyes were actually worse than I thought. The amount of detail I can make out now in far distances is startling.

Now we're at Schiphol on our way back to San Francisco. I was very sad about leaving Europe yesterday. But with a little luck, it won't be too long before we're back here again.

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March 5, 2006

en route to antwerp (from thursday)

It's late on a Thursday night, Lee is huddled in the seat across from me in the train compartment, I'm typing away trying to think of something interesting to say. We're on the Berlin-Paris express night-train, to spend a few days in Antwerp. The snow is still falling off and on outside the window.

Every time I start to talk about Europe I feel like I hit a wall. In Tokyo I'm full of observations. Even in San Francisco, where the culture can be a bit less than stimulating, I feel like I am full of things to say, critiques, apologetics, and so on. In Europe, I am just overwhelmed. In so many ways the culture is so similar to that of the United States, actually. But in other ways there is just no comparison. The similarities are things such as the fact that both America and European countries come from the basic moral perspective of Christianity. But the differences are in the directions this morality has taken them. While America is becoming essentially a kind of nihilistic melting pot of greedy tendencies under the veneer of some twisted propaganda of global democracy and freedom, Europe is blossoming into a kind of artistic paradise-on-earth of relatively well-funded arts programs and a generally rather content population. OK, that's a bit hyperbolic, but there's some truth in it.

America is fighting at least two wars, it's hard to say when everything the government does is basically part of some war effort somewhere, while Europe is flexing its diplomatic muscles and learning that it doesn't need to exist under the paranoic political umbrella of the United States. The EU is providing aid for the Palestinians, Germany has elected a progressive female chancellor. The whole EU Zone is watching with a neutral view the misguided and hypocritical aggressiveness of Bush & Co., refusing to join the battle. This feeling, of being in a neutral space, of escaping the daily bombardment of White House press releases regurgitated by a media with no spine is a welcome one. And really, why are Americans so willing to accept this nonsense? Who was it that said the people get the government they deserve...

addition to sunday's performance

I'm going to be presenting a live solo performance tonight at Ausland in Berlin. Also, I'm going to be collaborating with Nathan Fuhr (voice) and Emilie Delugeau (video) on our version of the Bill Viola pice Slowly Turning Narrative. Nathan and I performed this a couple of years ago at the Kunstvlai Festival in Amsterdam and are going to be revising it a bit for our performance tonight.

Here's the info and a map:

[time of rendering].05.03.06.Ausland.Berlin
installation performance

Concept and Performance: Nathan Fuhr (voice), in collaboration with Roddy Schrock (live sound design) and video artist Emilie Delugeau. Text: Bill Viola

This performance is an adaptation of an installation by Bill Viola titled Slowly Turning Narrative (experienced in 1998 twice at the San Francisco Museum of Modern Art and twice at the Art Institute of Chicago), in which the energy is focused to create a more palpably human, meditative, as well as subtly confrontational ritual experience for the audience as a collective.

It can't be done without you; come see why...

March 1, 2006

hey! people!

"Hey! People! Jack ON to life!!!"
Idea for t-shirt with like, glitter-sprinkle,
pastel-balloon type fonts. March 1, 2006
concept: Robert Duckworth

in berlin by the wall you were five foot ten inches tall...it was very nice

Sitting in Cafe Bravo at Kunst Werke with an intense snow falling outside I realize that this city has a kind of magic. A different kind than any other city I've been in but a magic all the same.

it's snowing in berlin today