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V. VALE RE/SEARCH NEWSLETTER APRIL 2013: JG Ballard, Weird Science, Tacita Dean


1A. MESSAGE FROM YOUR EDITOR, <b>V. VALE in Philadelphia April 10: Tacita Dean’s “JG” Project. Marian Wallace is showing  video about JG Ballard. East Coast RE/Search friends, please try to attend!</b>
1B. “Weird Science” essay by V. Vale
1C. <b>LYDIA LUNCH & HENRY ROLLINS: The New Line of “RE/SEARCH Pocketbooks”</b> – order now! (Some call them RE/Search “baby” books; they’re small & “cute”. Others call them RE/Search mini-books.)
2. Counter Culture Hour Sat April 13, 2013 – 6:00 PM PACIFIC TIME – SF cable channel 29, also simulcast on-line (see below): Spain Rodriguez (r.i.p.) is featured in an interview from 5 years ago!
3. **MEDITATION SPACE** [blank]
5. What We’ve Attended/What We’ve Been Reading/Seeing:
7. Recommended Links – send some!
9. Letters from Readers
10. Sponsors (Please check ’em out! – they make this “free” newsletter possible!)
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1A. MESSAGE FROM YOUR EDITOR <b>V. VALE, RE/SEARCH founder gives a J.G. BALLARD lecture Wed APRIL 10 in PHILADELPHIA at Arcadia University Art Gallery – come visit us! Vale will have all (4) RE/Search JG Ballard books for sale, plus “Search&Destroy#10” w/a JG Ballard interview, plus the RE/Search JGBallard Astrology Chart. This lecture is part of Berlin/U.K. artist TACITA DEAN’S “JG” Presentation, detailed below:</b>

Tacita Dean, JG, 2013. Color and black & white anamorphic 35mm film with optical sound, 26:30 minutes. Courtesy of the artist and Frith Street Gallery, London/Marian Goodman Gallery, New York/Paris.
Arcadia University Art Gallery
Tacita Dean

February 7–April 21, 2013

Arcadia University Art Gallery
450 S. Easton Rd.
Glenside, Pennsylvania 19038

T 215 572 2131 (2133)

Arcadia University Art Gallery is pleased to announce the presentation of JG by Berlin-based British artist Tacita Dean, who RE/Search met at J.G. Ballard’s Memorial Service at the top of the Tate Modern, Nov 15, 2009. Commissioned by the gallery and funded by The Pew Center for Arts & Heritage, JG is a sequel in technique to FILM, Dean’s 2011 project for Tate Modern’s Turbine Hall. The new 26 ½ minute work is a looped, 35mm anamorphic film shot on location in the saline landscapes of Utah and Southern California using Dean’s recently developed and patented system of aperture gate masking.

The project is inspired by her correspondence with British author J. G. Ballard (1930 – 2009) regarding connections between his short story “The Voices of Time” (1960) and Robert Smithson’s iconic earthwork and film, Spiral Jetty (both 1970). An unprecedented departure from her previous 16mm films, JG attempts to respond to Ballard’s challenge, posed to her shortly before he died, that Dean should “treat the Spiral Jetty as a mystery her film would solve.”

JG advances the aperture gate masking invention that Dean developed for FILM. This labor-intensive process, analogous to a form of stenciling, allows her to use different shaped masks to expose and re-expose the negative within a single film frame. Requiring that the film be put through the camera multiple times, the technique gives each frame the capacity to traverse time and location in ways that parallel the effects of Ballard’s fiction and Smithson’s earthwork and film. The process also serves to restore the spontaneity and invention that distinguished early cinema in comparison to the relative ease and what Dean calls “the end of risk” afforded by digital postproduction. JG is a work that could only be made using 35mm film, but it is also about drawing and collage and, as such, strives to return film to the physical, artisanal medium it was at its origin.

Mindful of Smithson’s film of his own earthwork, as well the medium’s dependency on the spooling and looping of celluloid though camera and projector, JG proposes a matrix of visual and literary correspondences that pushes previously unimagined capacities of film. The result is a visually stunning, elliptical interpretation of a speculative conversation between Ballard, Smithson, and Dean that reaches across decades and disciplines.

Organized by Gallery Director Richard Torchia, JG will commence with a lecture by Dean on February 7 in the Commons Great Room at 6:30 PM and coincides with other events and exhibitions in Philadelphia and New York.

International House (3701 Chestnut St., Philadelphia, begins a Ballard-themed film series on Tuesday, February 5, at 7pm, with remarks by Dean. The featured films, Ballard’s favorites chosen with the assistance of Claire Walsh, the author’s longtime partner, include the Russian war epic Come and See (1985) on February 5, the sci-fi adventure Mad Max 2 (1981) on March 1, and the film noir Point Blank (1967) on March 27.

Dean’s 2008 installation Merce Cunningham Performs STILLNESS… (six performances, six films) will be presented at Philadelphia’s Fabric Workshop and Museum (from February 2 through March 17, 2013; In New York, the Marian Goodman Gallery will present Fatigues, Dean’s large-scale blackboard drawing created for Documenta 13, from February 1 to March 9, 2013 (

Additional events at Arcadia will continue through April 21, including <b>a lecture on April 10 by V. Vale, the publisher of RE/Search editions, whose 1984 monograph on Ballard remains the most comprehensive introduction to his work. Vale also published (3) other JG Ballard books.</b>

JG is accompanied by Key Stroke, a collaborative artists’ book featuring photographs that Dean took on location with Ballard’s 35mm camera, given to her by Claire Walsh, and facsimiles of a manuscript by British novelist Will Self produced on Ballard’s typewriter, also given to him by Walsh. A second publication includes texts by Jeremy Millar, Walsh, Torchia and Dean. Both books are designed by Dean’s long-term collaborator, Martyn Ridgewell. They’re available in a very limited beautiful box.
,b.For more information about upcoming events, the exhibition, and directions to the gallery, please visit </b>

1B. “Weird Science” at Jack Hanley Gallery, NYC, opening Fri April 5, 2013.
<b>V. Vale wrote an essay for Kal Spelletich/Matt Heckert’s Show, reprinted here below:


Kal Spelletich, Matthew Heckert, V. Vale at Jack Hanley Gallery, New York City.
327 Broome Street, New York, NY 10002 646-918-6824.

Because of the lack of a stifling hierarchical, authoritarian, tradition-bound institutional hegemony, California’s Wild West engendered a climate of unprecedented imaginative creativity (the freedom to play, take risks, take chances, and be wild and free) which has almost singlehandedly created the start-up culture of the 21st Century, typified by Apple Computers, Google, FaceBook, YouTube, Twitter, the GoPro, Burning Man, and other inventions both real and virtual. Silicon Valley and Hollywood created the last fifty years of most of the world’s technological and cultural innovation. (There are a few exceptions, like “Gangnam Style,” but they remain minor. Most of the “Designing of the Future” has sprung from the West Coast.)
Forty years ago the British futurist-visionary J.G. Ballard wrote, “Sex times technology equals the future.” (1972) However, it can be argued that technology in itself changes the future. And that includes the future of all culture, including “art.”
In the last hundred years, the definition of art has expanded almost infinitely. Marcel Duchamp said, “Anything is art if an artist says it is.” Duchamp invented the concept of the “readymade,” which included industrially-manufactured objects such as a urinal, a bicycle wheel and a stool. Simply by titling and autographing them, he made them museum-worthy and valued at probably $1,000,000 or more in today’s dollars. He also helped invent conceptual and performance art: he gave himself a haircut with a star emblazed on top (anticipating ’90s hip-hop stars) and also played chess in public with a naked woman (that was called art, too). His last grand meisterwerk was an installation which could only be viewed through a peephole  in a door (thus rendering the viewer a Peeping Tom or Tomasina) featuring a naked woman, legs spread, holding aloft a lantern in one hand, with a fake stream of water nearby (Freudian symbolism?).
Duchamp came to the West Coast (otherwise known as the Best Coast, the Left Coast, the Free Coast) and quickly adapted to the Wild West pioneering mentality where social pedigrees, privilege, and titular wealth were largely ignored. But much earlier, foreseeing the influence of technology on the future, in 1915 he had begun engineering his precarious “Bride Stripped Bare by Her Bachelors, Even”—a kind of perpetual-motion masterpiece of “useless” technology. Duchamp’s detailed drawings reveal him to be a kind of “weird scientist” decidedly uninterested in anything but the metaphoric, the impractical, the conceptual. Four hundred years earlier, Leonardo da Vinci was producing the same kind of highly detailed “schematic” drawings hinting at a science of poetic alterity, much like Duchamp adumbrated.
Duchamp is now considered the Godfather of 20th Century Conceptual Art and has long been part of the Pantheon of Blue Chip Artists. But most people forget that it was not until 1963, in California, that he was given his very first museum show, by the prescient uber-curator Walter Hopps, at the Pasadena Art Museum.
Walter Hopps almost single-handedly catalyzed the West Coast School of Art which included Ed Kienholz, the first Californian artist to make art out of that singularly American invention, the automobile. Predating Ballard’s “Crash,” Kienholz created an installation titled “‘Back Seat Dodge ’38” which showed a woman in the backseat of the car in some unidentified stage of sexual intercourse. This once-shocking tableau has now been permanently enshrined as a classic work of bona fide art at the Los Angeles County Museum of Art. Again, technology creates the future.
Of course, technology was used in Europe to change the world and bring innovation into culture—think of Gutenberg’s printing press, circa 1436. At the beginning of the 20th century, the Italian Futurists (particularly one Luigi Russolo) created a strange orchestra of music-and-noise-producing machines to honor the industrial age’s contribution to changing the world’s soundtrack by increasing ambient noise decibel levels. The Swiss artist Jean Tinguely began collecting abandoned rusty machinery and fashioning machinery which drew, painted, produced sound and sometimes self-destructed. Some of the machines were grouped into installations which school children could activate. Today there is a Tinguely Museum in Basel, Switzerland.

Flash forward ahead several decades to the birth of the Industrial Culture Movement, most prominently spearheaded by an art company calling itself “Survival Research Laboratories” in context of the beginning of the Seventies Punk Rock Cultural Revolution. Principals Mark Pauline, Eric Werner and Matt Heckert were the mainstay of the anarchic gathering of wayward talents. During this decade, San Francisco had begun its deleterious shift from a manufacturing economy to a service, design and marketing economy, as labor began to be exported overseas by unpatriotic corporations and CEOs. The result was that literally dozens of light machine shops and small factories were abandoned almost overnight, their contents left to attract dust and rust. Sensing that this machinery could be used to make art, the can-do young American mechanical engineers in SRL began breaking in and carting off this detritus. One of them was San Francisco Art Institute student Matthew Heckert, who taught himself welding “outside of class.” Quickly he began fabricating large-scale performance art machines for deployment in city-block-wide outdoor performances accompanied by high-volume weird-musical-collages, which he curated.
A San Francisco Punk Rock publisher named V. Vale (disclosure: that would be me) began publicizing the work and theory of SRL beginning in the last issue of “Search & Destroy” magazine (1979), the first three tabloid issues of “RE/Search,” the “Industrial Culture Handbook,” and two books titled “Pranks” (Volume One and Volume Two). RE/Search also published an early SRL video titled “Menacing Machine Mayhem.” These books reached artists and rebels worldwide. This video, and other videos of these “industrial art machine” performances, began inspiring other artist-engineers all over the world, as well as attracting new talent to pilgrimage to San Francisco and join SRL.
One such innovative artist compelled to join Survival Research Laboratories was Kal Spelletich from Iowa. Mr. Spelletich had managed to find the RE/Search “Pranks” issue and had been so impressed by what he read that he raised money, sold off his possessions, and drove to San Francisco straight to the SRL shop to join the crew.
SRL’s unique artistic start-up environment of self-financing, hunter-gatherer-foraging-for-abandoned-art-materials, self-tutoring, self-apprenticeship, and empirical trial-and-error engineering investigations was not without excitement. Sadly, one ill-fated experiment resulted in SRL founder Mark Pauline’s right hand being blown apart—it was Matt Heckert who rushed him to the genius S.F. General Hospital microsurgery unit two blocks away. After various toes were grafted on, the bloody stump was restored to a level of usability.
Years passed. More and more art machines were designed, engineered and deployed in huge live art performances and installations. Robotics and drone-guidance technology became incorporated. SRL began giving shows all over the world. More and more SRL individuals developed their talents, skills, and then broke off to create their own opuses of work. Matt Heckert had created dozens of very strange musical soundtracks from the myriad records he discovered in his travels. Heckert, a musician in the Punk band Pink Section (and other bands), began to fuse his talent for engineering with his love for music. Subsequently he invented a number of interactive music-and-noise generating art-machines, to be used in installations, exhibitions, and also in live performances of his mechanical orchestra.
Kal Spelletich, in his voyages all over the world (one of his favorite experiences was visiting Africa, as well as India), has created a number of interactive machine-art installations, performances, exhibits, and even food-and-art machines (many grateful art lovers have eaten his delicious sausages worldwide; sometimes experiencing intense art makes one very hungry). Some of his interactive art machines have been used to educate and inspire young audiences composed of grade school and high school students. Adults have been enlivened by his cocktail-making robotics (shaken, not stirred).
As for New York, it has long been known that for an artist to “make it,” that artist must have a showing in New York. And the avant-garde gallerist Jack Hanley has stuck his neck out to provide a Manhattan home base for this “Weird Science” art exhibition, showcasing two quiet-but-in-it-for-the-long-term technological-artistic innovators living in the Bay Area: Matt Heckert and Kal Spelletich. Both are iconcolastic spirits who have harnessed their rebellious impulses in the service of transgressive yet illuminating creativity: inventing art machines and installations which radiate rhizomatic puzzlement, suggest unexpected affinities, and activate (hopefully) reverberating radicalization.
Both Matt Heckert and Kal Spelletich have used technology to suggest futures which will not be circumscribed by fascistic functionality. Both are engaged in the great project of imagining into existence new modes of interactivity, new modes of being, new modes of transcending a future imprisoned by banal borderlines of conceptuality. Their machine fusions of art with technology are creating new anthropological-mythological enigmas to be decoded by future generations of art historians. So, enjoy them now!
V. Vale, RE/Search founder-writer-curator-musician, www.

1C. MESSAGE FROM V. VALE:  <b>LYDIA LUNCH and HENRY ROLLINS: New Pocketbooks from RE/Search. Order Now!</b>
**** Brand-new books!***
The 1st and 2nd in our new “RE/SEARCH Pocketbook” series of interview books. Order direct from http://www. ) – order BOTH and we’ll send you a “Goals of Life” w-i-p.
“Henry Rollins” and “Lydia Lunch” are now out! We’re working on “George Kuchar” and “Ed Hardy” now…
With the launch of the new RE/Search Pocketbook Series, we are finally making available these never-before-available RE/Search-quality interviews with Henry Rollins, Lydia Lunch, George Kuchar, Ed Hardy and more…

() <b>DATING A.I.: A Guide to Falling In Love with Artificial Intelligence, by Alex Zhavoronkoff,</b> Ph.D. is the clearest introduction to what Artificial Intelligence **is**. See our promo video: The CLEAREST (& FUNNIEST) INTRO to ARTIFICIAL INTELLIGENCE: RE/SEARCH’s DATING AI! … – order from http://www.
– here’s the first review of DATING A.I.:

2. <b>Counter Culture Hour – Saturday April 13, 2013 6pm: Due to popular demand — Spain Rodriguez</b> will re-air. If you missed this last month, you have another chance to learn about this underground comic artist, who recently departed earth.

The Counter Culture Hour (aka RE/SEARCH TV) is also simulcast ON-LINE as well as on cable access San Francisco Channel 29 — 6pm Pacific Time, Sat  Apr 13, 2013
– see this link at broadcast time:
You need a fairly decent internet connection and computer to “get it.”
USA west coast: 6:00 PM Saturday, Apr 13, 2013
USA east coast: 9:00 PM Sunday, Apr 14, 2013
Tokyo: 10:00 AM Sunday, Apr 14, 2013
If you cannot get this online email us at

See RE/Search channel on youtube: “researchpubs”
There are also several episodes of The Counter Culture Hour on “” — channel named “counterculture”

3. This is blank space a la John Cage aka “Meditation Space”!

4. FORTHCOMING EVENTS (San Francisco unless Otherwise Noted)

() FREE. Sat March 30, 7pm. Emerald Tablet, 80 Fresno Alley, presents free readings by “The Two Austrians of North Beach”  plus a Swiss poet.

() FREE, 7pm Tue April 2, our newsletter sponsor OUT OF OUR… has a 15th issue release party at Emerald Tablet, 80 Fresno Alley –

() FREE. Mon April 1, Noon. St. Stupid’s Day PARADE; meet at Embarcadero Plaza/foot of Market St! RAIN or SHINE. San Francisco’s annual right-left-right of spring marches thru the Financial district yet again. Sponsored by the First Church of the Last Laugh, this modern update of the medieval Feast of Fools leads its many costumed followers to the Stations of Stupid. Bring your collection of solo’d socks to trade at the old Pacific Stock Exchange. Gather the pennies from the desk drawer and couch cushions to toss at the Bankers Heart. Come be a part of the spectacle of the Leap of Faith, the knocking on the door of the Tomb of Stupid, take a break at the Parade Rest Stop and fling your losing lottery tickets at the Federal Reserve Bank HQ. This will be the 35th time this edgy light-hearted poke at the business of religion and the religion of business meets to fulfill the one holy day obligation of the world’s oldest religion, the world’s largest church….you’re already a member. Come find out why.

() FREE. Tue Apr 2, 11-5pm, SFMOMA: Garry Winogrand Photo Show. Noon: Erin O’Toole presents special program on G.W. Museum & program admission are free! (N.B.: SFMOMA will be CLOSED for 3 years or more, so go while you can!). ALSO FREE TODAY: De Young Museum (“Girl with a Pearl Earring”; Legion of Honor Museum, Yerba Buena Center.

() FREE. Sat-Sun, all of April. Mal Sharpe’s band, 1-5pm? Savoy Tivoli, Grant Ave near Union St, S.F.
p.s. He’s right out in the open, so just walk by to hear!

() Thu-Fri-Sat March 29-June 1, 8pm Weekends March-June Tinsel Tarts in a Hot Coma The Next Cockettes Musical – Only at The Hypnodrome 575 10th St., San Francisco – Map Tickets $30 and $35 – remember this is LIVE THEATER, only 45 seats including special “shock boxes” for couples – highly recommended – Dan Nicoletta’s photos are available on 4 websites:
Gallery view
Lightbox view!i=2372283799&k=cNXzLXM&lb=1&s=A
Slideshow view
Batch buy
Trouble viewing?… re: Smugmug supported browsers
Other Nicoletta work on smugmug?  For all other albums you just go to

() NEW YORK. Sun April 1, 2013, 12 noon: Joey Skaggs’ (read him in our PRANKS books) puts on this annually:  The 28th Annual April Fools’ Day Parade will begin at Fifth Avenue and 59th Street at 12 noon. Also, see photo of William S. Burroughs by Peter Hujar in Pace/Magill Gallery show til April 20.

() LOS ANGELES. April dates for Meri St Mary readings: : 4/11/13 STORIES on Sunset Echo Park/Silverlake
2: 4/13/13 BEYOND BAROQUE in Venice
3: 4/14/13 THE LAST BOOKSTORE Downtown LA

() FREE. Wed-Sun April 3-7, 10 AM-6pm, Friends of Library Book Sale at Fort Mason. Sun: books $1 each!

() $ Thur April 4, 8pm. Slims, 333 11th St/Folsom, SF. 10pm Galaxxy Chamber with puppets by Shadow Circus Creature Theater. (N.B: We like Galaxxy Chamber). Also Coo Coo Birds, Linda Imperial Band, Hibbidy Dibbity.

() $$ Tue April 9, Bill Graham Civic Auditorium. Nick Cave & The Bad Seeds, tour to support “Push the Sky Away,” new album.  ‘Nuff said! Jubilee Street” – uncensored video:

() <b>Wed April 10, 530pm, PHILADELPHIA: V. Vale lecture at Arcadia University Art Gallery on J.G. Ballard.</b>

() FREE. Thur Apr 11, 8pm. “SF’s Lost Cemeteries” film at Calif. Inst. of Integral Studies (CIIS), 1453 Mission/11th St, SF.

() $3 Sun April 14, 10-4pm KUSF Rock N’ Swap. USF McLaren Hall, 2130 Fulton/Masonic, SF.  Mickey McGowan may be there!

() FREE. Thur April 18, 5:30pm-8pm. Read your favorite poem or perform one at City Hall’s Open Mic Poetry: the 8th Annual Poems Under the Dome.

() FREE. Sun April 21, 11-4pm. “Sunday Streets in the Mission”: Valencia St from Duboce to 24th St closed to cars for a people playground.

() $ <b>Mon April 29, 730pm RE/SEARCH & Emerald Tablet (80 Fresno St)  present all the way from JAPAN: a 2-hour program featuring Punk Rocker HIDE</b>presenting his take on the Fukushima/Nuclear Power Plant disaster (20,000 dead), with illustrations, Q&A, full-blown Japan-eccentricity. Only 40 seats for this rare, very strange, possibly over-the-top event – Japanophiles take note! If you wish to attend please email Vale at and you will be instructed – at this early date we haven’t set up Brown Paper Tickets yet.
HERE is a hint at what will happen Mon April 29: “Please come to my talk and spoken words and Q & A show, you will see and experience first time in music history of the universe. I think Japanese punk rocker speak out in english to only talk, not play music, just TALK for 2 hours or more about free subjects, kind of TV style Q & A. Japan had massive attack tunami and earthquake and atomic power plant blow up our mind about 2 years ago. This is my kind of timing to use the japan facts and my music art working progression to over seas. This show is most of time i like do Q & A with attendance ask me whatever your curiosity to answer, subject of nuclear, sex, breakfast, foot pedals, kingdom of bhutan, my neighborhood, parallel world,etc. My 52 years life experience think about japan is well know mind control from USA & ENGLAND with totally “MANGA” stupidity presence of japan isolation era with funky style just well copyed and manga eat all japanese brains or I can see just little bit “Oh man, I am seeing the future of the control by corporations and one country call THE EARTH.” that why we are robots.”
This promises definitely to be a fun, weird, memorable evening! Support HIDE – hands across the sea!

5. What We’ve Attended/What We’ve Been Reading/Seeing/Listening to/What We’ve Been Sent/Given

() <b>big 10-page intv w/V. Vale in the new print version of SFAQ</b> (San Francisco Art Quarterly) available at galleries, City Lights Bookstore, Tattoo City, SFAI, etc. Write RE/Search if you want a copy!

() Eric Christensen made a documentary including Yoko Ono, Mouse&Kelley, Roger Dean, Victor Moscoso, Ethan Russell. Bonus disc included. – 415.793.7301 – here are stories revealing how certain “classic” album covers were made…

() Penny Rimbaud and Gee Vaucher (CRASS founders) were just here! Watch for a forthcoming Counter Culture Hour episode with them! Does anyone want to write in about any of their events they had here and in NYC in March? Please do!


7. RECOMMENDED LINKS (send some!)

() <b>The CLEAREST (& FUNNIEST) INTRO to ARTIFICIAL INTELLIGENCE: RE/SEARCH’s DATING AI!</b> … … – order from http://www. …

() from V in London:
Who said it: SpongeBog or Nietzsche? (i got 11 out of 15!)

() from R.U.Sirius:

() from Skot A:
–  (scary, ancient sound files)
– surveillance:

() Video of Ed Hardy painting:

() R.I.P. Spain (cartoonist):

() from Mark Pauline, SRL: spine robot hurls cinder block 16 feet!

() from Danielle N: “I THINK THIS IS AMAZING” – Agreed! Inspiring, Gives “Hope”! Patti @ Age 31.

() from Harry B: “…word I made up”:

() Cacophony Society book forthcoming (see also our PRANKS 2 book)

() Congrats Jon Moritsugu & Amy:

() from Winston Smith: Gee Vaucher Show in S.F.:

() from Nancy F: “Our history in 2 minutes”:

() from Phil G: “I wonder who in their right mind would want these. Since the Google folks are so smart, how can they rationalize all the negatives? If it was just a few geeks with homemade versions of these, they would be run out of town.”

() from Skot A:

() from Mark P – SRL at XFF, L.A.

() from Ralf:

() Burroughs, Zappa, Gysin:

() from Bruno R:

() follow Poet/Performance Artist Ada McCartney on FaceBook:


() “In the complex world, the notion of “cause” itself is suspect; it is either nearly impossible to detect or not really defined—another reason to ignore newspapers, with their constant supply of causes for things.” –Nassim Taleb, Antifragile

() ““In medicine, we are discovering the healing powers of fasting, as the avoidance of the hormonal rushes that come with the ingestion of food. Hormones convey information to the different parts of our system, and too much of them confuses our biology. Here again, as with news received at too high a frequency, too much information becomes harmful—daily news and sugar confuse our system in the same manner.” –Nassim Taleb, Antifragile

() The Table of Contents of <b>J.G. Ballard’s 2006 novel, KINGDOM COME, </b>reads like a kind of poetry: “The Homecoming. The Riot. The Resistance Movement. Snakes and Ladders. Accidents and Emergencies. The Beach at the Holiday Inn. Street People. A Hard Night. Neon Palaces. Towards a Willed Madness. The Prisoner in the Tower. The Bomb Attack. The Geometry of the Crowd. A Failed Revolution. The Need to Understand. A New Politics. The Trenchcoat Hero. The Women’s Refuge. A Fascist State. Lonely, Lost, Angry. A Bullet in the Hand. An Anxious Intermission. The Old Man’s Quest. The Stricken City. Assassination. The Consumer Life. Work Makes You Free. Normality. Shrines and Altars. Prayers and Wool-Wash Cycles. Tell Him. The Last Stand. Exit Strategies. A Solar Cult.”

“Sitting in his Shepperton semi, Ballard has issued a series of bulletins on the modern world of almost unerring prescience. Other writers describe; Ballard anticipates. To paraphrse the title of one of his short story collections, he has provided us with our own myths of the near future.” – Will Self


() “Hi Vale, I’m glad you got to see the Llyn Foulkes show, & that you were impressed enough to write about it to the extent that you did!  If you got the catalogue, you saw that I was the one who wrote the essay about his music (which he very much appreciated).  My old friend Norton Wisdom, also a painter who has long done live painting performances in addition to his studio work & who has painted live with Llyn playing his Machine many times, turned me on to Llyn and pushed things far enough for me to get to write that essay (if I never told you about Norton, a lifelong Angeleno except for the early ‘70s when he got an MFA in art at Berkeley alongside my brother, then I should send you the piece I did on him for The Wire, in 2005—also on my website).  Anyway, since I couldn’t get the museum to fly me out for the opening (though they did pay respectably for my essay), I decided to skip the opening and flew out a week later instead. In my three days there (after a quick visit to Berkeley), I saw the show twice, spending a couple hours each time, and got to see Llyn perform on his Machine (with Norton painting) at his performance space (The Church of Art) next door to his studio and live-in loft, just east of downtown at the Brewery.  I’ve tried to interest small labels (Zorn’s Tzadik, & Cryptogramophone in LA) in producing a CD of his improvisational work on the Machine, but no go.  So, the idea of flying the Machine to NY for the show here probably won’t happen. Anyway, keep well. All best, Jason W.”

() “Hey Vale, I’m glad you discovered Llyn Foulkes! I learned about him thru a show at the Oakland museum about 15 years ago….I wish I could go catch this retrospective in LA…I will certainly try !!!
[about City Lights event with Stewart Home] … but anyhooooo, I’m still glad I went, I had always wanted to see the Odd Fellows hall, so thanks for alerting me.
I also booked tix to the Crass event on 3/17. Great to talk last Saturday !!! I’ll email you pics of Lucky’s sculpture…. best, Dave S”

() <b>”Hi Vale: See that you have a book out with Lydia Lunch and Henry Rollins.</b> Have you not considered to combine my film with it in which they both play the lead, Lydia also wrote  the script (so I even gave her a co-directorscredit for that reason) and Mike Kuchar did the camera.  It is called:  Kiss Napoleon Goodbye produced  in 1991. Jim Thirlwell did the  great soundtrack. It would at least be good if you could somehow announce the fact that this dvd is available as I included 3  very good  poetry- performances by Lydia on it as extras (and can be ordered since a few years in los angeles @Cult  Love, Babeth” – [note, order the film from: Nico B,, or write ]

() Thanks for plugging my book of poems in your newsletter – Jet Shock and Culture Lag. – Steven”

() [SRL mini-Show: SRL demo’d their SPINE ROBOT live!] “Fun at the California Academy of Sciences last night (Thur March 7, 2013). Special thanks to jonko and abraham for getting it all ready and down there. We were right next to the Goggle self-driving car that was showing its 3-D scanning output on a screen live and the robot camera guys from Portrero hill (jason worked on the robot arm in a car for them last year). You could see the spine robot in the scene moving around! Got some great shots of the spine in action, we brought cinder blocks but being next to the goggle car, it wasn’t going to work out to throw them, so we chucked traffic cones instead.
“Picked up Nina at one point. Drone camera worked great got some good footage but no gps as it was under a metal awning and couldnt get a full signal, had to drive it manually. No crashes anyway and didnt cut anyone with the blades. Sent in my budget for a possible future Las Vegas show; they want to do a bigger show now. We’ll see…Mark Pauline”
“Lots of fun at the SRL show last night, March 7, 2013! I put this quick little teaser reel together from my grainy little point-and-shoot coolpix.  Pretty rough, and it doesn’t show the crowds or crazy shenanigans…The video camera and drone footage will make a more impressive video when they’ve been processed.
“At one point in the evening, Mark picked me and John up together and the spine didn’t flinch for a second under the weight (lots of oohs and ahhs from the crowd). At another point, I swung Nina around a little too quickly in her evening wear and she almost ended up on top of the Google car. Looking forward to seeing that from multiple camera angles. And on Google maps. Sorry Nina.   –  Abraham”

() “Dear friends, Antonino’s film Let Fury Have the Hour is out now on iTunes!  If you haven’t seen it, please check it out.  If you have, see it again.  We deeply appreciate your support. And please forward this message to everyone everywhere! Many thanks! La Lutta NMC “Kudos to writer-director Antonino D’Ambrosio for taking such an eclectic and disparate number of aims, thoughts, subjects and mediums and creating the smart and inspiring — and uniquely whole —documentary that is “Let Fury Have the Hour.”  A kind of think/performance piece about what’s termed here “creative reaction,” the film hears from a stirring swath of socially conscious artists whose work largely emerged as an anger-channeling counter to the Reagan-Thatcher era of conservative individualism. – LA Times – from Winston Smith

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APRIL 2013 RE/Search eNewsletter written by V. Vale & other contributors. RE/Search website powered by  Add us (“”) to Your Address Book
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