Monday, March 14, 2016

'The Mistress'



At the end of last year the present writer made an attempt to compare twentieth-century methods of mechanical reproduction with the twenty-first through work of itinerant rhizomath NdA.

Natalie d'Arbeloff has succeeded to illuminate art's publishing revolution in a way Mick's postcapitalist explanation failed to do, by transforming Knowledge Publications' mid-60's bookfolio project 'The Masters' ("The world's most complete gallery of painting") into a retrospective exhibition of (her)story in paint using an online photo book.

How and why Natalie succeeded in doing what 'The Masters' were unable to do fifty years ago, because of limited technology and old-fashioned social attitudes, is provided by rhizomistress at Blaugustine's Other Blog.

Monday, February 08, 2016

Tuesday, January 12, 2016

Tuesday, November 17, 2015

Tuesday, October 20, 2015

NdA's old cobbings

Natalie d'Arbeloff has been presenting some "old sketches" on her blogs recently -- including these two pics of Bob Cobbing from the early 80s.


















Blog(s) plural because Natalie has a genetic cartoon twin, Augustine. The present writer first met Natalie/Augustine at the beginning of the 21st century, introduced through the medium of what seemed a novelty in 2000 -- electronic mail. Both Natalie and Jennifer Cobbing had been sitting with young Apple fanboys in Mac-user groups throughout the late 90s. By the early noughties d'Arbeloff had introduced cartoon character Augustine to her digital world of online galleries and www blogosphere as avatar Blaugustine. Natalie's Blaugustine here is mirrored by Blaugustine's Other Blog here

Augustine's light however is still largely unseen by the neomodern art world because Natalie has lots of other bulbs flashing in multiple microspaces. The oh-so-marvellously-trending neoliberal arts establishment have difficulty with something they can't sell if it doesn't have a publicist's ready-made leftfield value on it: or useful and profitable baits in the hidden abode of promotions and sponsorships behind advertisers' pay walls and issuu-looking information freesheets. So not having brand value, Augustine doesn't appear to have exchange or consumer use value either. If this sounds like screwed-up marxist economics Metro, Stylist, ShortList, NMETime Out freesheets etc., better illustrate developments. Titles with exchange, and therefore use value to capitalism in the 20th century; for example NME and London's Time Out when western youth culture was at its commercial height in the UK. Or another example; the London Evening Standard had one of the world's best syndicated cartoon-strips in The Far Side along with homegrown Bristow and Modesty Blaise -- all worth paying for. But NdA's codes, like theirs, now seem lost in an old pre-world mixed with a post-new-other.

Natalie d'Arbeloff is a social media-savvy artist, feminist, humorist, vocalist, teacher, corporate media competition lay entrant, writer, cartoonist-illustrator, theorist (her Designing with Natural Forms influenced Eric Mottram's Towards Design in Poetry referenced by Adrian Clarke in his introduction to Jennifer Pike Cobbing's Scrunch) and being these things at the same time in London, New York, Paris: and an arts centre masquerading as a Norwegian church in Cardiff -- an itinerant rhizomath.   
 

Tuesday, September 22, 2015

#trending #pending #ending

On September 20 2013 the present writer deactivated EGNEP's Twitter account (presumed deleted thirty days later) documented in this two year old blogspot. The author's 'inconsquential information' at the time linked Twitter "follow me on Twitter" Updates (column right) to an error page "Sorry, that page doesn't exist".

This inspired a free-to-view Home'Baked PDF and a kindle edition. Two years later Twitter Updates (opposite) link to an "Account suspended" page inspiring second kindle edition Sorry, that page doesn't exist.


 

Monday, July 06, 2015

Michael Finnissy's Beat Generation Ballads 2

-- short trailer for longer docu-track on youtube -- see "Veer to Conservatoire and beyond" 

                                  

Wednesday, April 29, 2015

home'baked books blarting in mahu


The present writer is delighted SJ Fowler invited Michael John Weller's Home'Baked Books to celebrate its tenth birthday in Mahu at London's Hardy Tree gallery.

The Enemies Project dedicated online page for June 7 vent here.

Wednesday, March 04, 2015

Veer to Conservatoire and beyond

It's five years since MJ Weller's docu-track Beat generation Ballads was first published by Veer Books. Partly inspired by modernist composer Michael Finnissy, the publication rekindled a dialogue between poet and composer for the first time in 45 years. A sort of beat generation ballad bonus track in itself.

Page from M J Weller's Songs Our Teachers Learn Us (free-to-view beat generation ballads e-supplement, 2015) --
Publication of author’s Beat generation Ballads prompted new email correspondence with old secondary school friend, teacher, modern composer and beat ballads' muse, Michael Finnissy. 
                                                                                  

Weller: The email you sent appeared as symmetrical 'word' score. Couldn't resist making page design unit with content and posting back.




Finnissy: […] you appeared to send me my message back asking if it was a musical score (which it wasn't intended to be), or did I misread


In 2013 Finnissy composed a large-scale work for piano entitled Beat Generation Ballads.The work has been described by its premier pianist-performer Philip Thomas on his website as an extraordinary 50-minute work, taking in Bill Evans, Allen Ginsberg, Bach, Beethoven, Irish protest songs, Webern and music by a 16-year old Michael Finnissy.

(note: post update May 29 2015)
The Huddersfield Contemporary Music Festival 2014 premiere recording of Finnissy's composition was aired on BBC R3's Hear and Now in April (after this post first appeared). Inspired by an interview with Finnissy featured in the broadcast Weller has made second e-supplement/complement to original Veer Book.

It takes the form of an animated docu-track. Sound recorded from a computer and squeezed onto a YouTube video -- Philip Thomas's beautiful playing ends up atrociously compressed. Until a recording company is able to release Beat Generation Ballads in high resolution Michael Finnissy's recorded five-part composition will fall short of full audio potential.


A parody of original Finnissy/Weller beat generation ballads coming to YouTube soon.

 


Friday, October 10, 2014

Wednesday, September 10, 2014

Beowulf (no colon) Cartoon

It's ten years since Beowulf Cartoon was published by Writers Forum & Visual Associations. Dedicated to the memory of Bob Cobbing 1920-2002 (who couldn't resist a good birthday) and Bill Griffiths 1948-2007 (friendly ghost stalking UK's contemporary poetry scene).


Thursday, July 17, 2014

...still taking the Mickey...

Germaine Greer, in a Guardian article written 2007, on projected making of movie adapted from Richard Neville's memoir Hippie Hippie Shake, comments --
  "As one of the least talented people on the London scene in the 60s, it was probably inevitable that Neville would be constantly revisiting it in search of the fame and fortune that continue to elude him. Felix Dennis, being now worth something like £385m, doesn't find it necessary to remind people at every turn that he was one of the heroes of the Oz trial a third of a century ago. He is also far too smart to let Neville [...] exploit his hippie past, and they wouldn't try. The real geniuses being dead, deranged or sunk in obscurity, the attentions of the flesh-eating bacteria turn to me."
Howard Jacobson's recent television documentary Rebels of Oz celebrates with affection sheer Aussie brilliance of imports Germaine Greer, Barry Humphries, Clive James and the late Robert Hughes. Oz magazine enjoys only brief cameo appearance.
At a July 14th event in the British Library (BL supported on this occasion by Eccles Centre for American Studies); and as part of its ongoing Comics Unmasked: Art and Anarchy in the UK exhibition; public debate was organised on Monday night by the show's curators; ostensibly to spotlight 'Robert Crumb, Gilbert Shelton and Friends: From the Comics Underground to the Courtroom' --  discussing influence and use of American counterculture in British comics during the early Seventies.
Self-proclaimed cultural infidel Charles Shaar Murray -- a 'Schoolkids Issue' Oz veteran himself -- mc'd Comics Unmasked's 'Underground' evening (his website post as host is here with filmed documentation of the evening*).

Reprinting of Shelton and Crumb drawings in Nasty Tales number one provoked a second high-profile obscenity trial, two years after Oz found itself in the dock at the Old Bailey for publishing Crumb's cartoons. For sensitive little hippy souls growing up with Rupert Bear stories, there was always ambivalence in 'Schoolkids Issue' montage of Alfred Bestall's representational détournment as collaged wirh US underground cartoonist R.Crumb's drawing (Robert Hughes celebrates Crumb's genius in 2005 Guardian article here). Comics Unmasked's most critical detractor, the celebrated arts writer, critic, and broadcaster Waldemar Januszczak, writing for the Sunday Times (mirror blog here), is perhaps the only contrarian among UK liberal arts media commentariat.

Cultural ambivalence has not gone away. It is possible to argue a passing of forty-five years has not reduced the juxtapositional impact of satirical North American adult comix form with traditional Rupert Bear iconography. Small girls and grown women (including former English hippy chicks of the 1960s and early '70's - now grandmothers themselves) have always enjoyed a particular asexual engagement with Rupert Bear and chums. These anthropomorphic children's icons from "Nutwood" are perennial. Represented in newer media formats and seemingly just as popular with new generations of young not-so-sensitive male geeks. 
With "Nutwood'"s visual culture globalized in moving image through 1990's Canadian animation company Nelvana's North American produced telecasts; its earlier vibrant paraliterary form as print, is reproduced here by graphics Eye journal through a 1959 Rupert Bear page unit analysis. Providing evidence of early modernist mass visual culture in the UK. Side-stepping "art and anarchy" in a dance of water colour illustration.

The imagery has raced into social media and 21st century podcast locations -- a cartoon secondary world speeds even further away from Sixties, Seventies & Eighties (Oz magazine & Nasty Tales' loan of R. Crumb's hippie hippie shake comix; Beatle Paul McCartney's and Python Terry Jones's nostalgic enthusiasms) - through the Nineties, Noughties and Twentyteens (Crumb holds-and-folds copy of 'Schoolkids Issue' Oz in a British museum 2014) -- flying into timeless working class picture-pastorals. When We Were Very Young at Disneyland. Winnie the Pooh in Latin. Black magic grimoire spells of John Dee and Aleister Crowley. White magic words and pictures of Milne and Shepard. Pretend poetry. Poetry betrayed every day.
* Extended British Library footage, including Shaar Murray's interviews with cartoonists Crumb and Shelton, is available here. 

Tuesday, July 01, 2014

Taking the Mickey

Poster by Jordan Bolton  Tom Jenks 

Sunday, June 29, 2014

the king of English pretend poetry is dead

Felix Dennis died this month - June 22nd 2014 (Social Reality Earthtime).

For those who knew Mr. Dennis it is impossible to forget him.

This is Mike Weller's third Felix Dennis blogspot feature in three years. But this post is something of a wake. A celebration of pretend poetry. The first mention of Felix, eighth paragraph down, is here. The second, a 'Warped Sci Fi Pieces" minimovie appearance, is here. Felix makes cameo appearance 'Ballad for Jeff Nuttall' (Veer's beat generation ballads).

From Hong Kung-Fuey to his own faux-British silicon shire Kiplingesque poetry: Felix Dennis accumulated wealth by mining niche pop culture subject matter into printed magazines - from comix to computers. Well, maybe not comics. His plan to sell Mike Weller as Britain's answer to R.Crumb after The Firm was a non-starter: "Captain" Stelling was a one shot cartoon fiction and Weller had no plans to do more comic books with Union Jack banners across them. A projected "Illustrated Bob Dylan Songbook" drawn up by OZ /Cozmic Comics graphic artists and cartoonists didn't work either. Have you ever tried to be like Bob Dylan. No question mark.

It would take eighties generation English and Scottish working class cartoonists and writers to rejuvenate Alfred Harmsworth's old line of comic papers into successful modernity and USA export. Felix was a larger than life figure himself. A match for Fleetway's fictional Sexton Blake, Battler Britton, newer Megacity anti-hero, Judge Dredd, and Misty comic for girls of the Kate Bush generation.

Felix, the old bugger, managed to get a comic title for himself in the end, by acquiring Viz from Newcastle's Donald brothers after they'd already established their humorous brew.

Scheduled to appear at British Library's Comics Unmasked conference evening with Robert Crumb and others involved in 1970's Oz and Nasty Tales obscenity trials on July 14th - Felix's absence cannot be happily filled. Neither can Mick Farren's and Edward Barker's for that matter. Hail and farewell, Felix... 

'Lucky Trees', along with 'Lullaby of Smegland', 'Warped Sci-Fi Pieces' form part of (Site Under Construction). Dennis is inspiration for Weller's Cap Stelling characters Mr White/Lawrie Libb.








Felix is immortalized in April 2014's 'Zine Tales' by montaging old 1970's "Folders full of Mick" pencil sketches with up-to-date lettered ink comments.


Felix Dennis was a product of lower middle class south London suburbia with an absent father. In his younger days he was known to talk himself up as coming "from London's tough East End" - a conceit later inspiring 1930s Jewish author-publisher character Eddie Mogul in Mike Weller's Space Opera and Slow Fiction.


Not a fan of modernist poetry (although he did follow Sophie Robinson on Twitter): experimental and linguistically innovative writing were an anathema to him.

As a gambling man, Dennis never beat a path by walking Johnny Cash's traditional ballad line. He wasn't going to lose by playing the foolish game of love. Falling for someone, giving all of his love, taking the chance it may be unrequited, or worse, accepted as an act of faith and then twisted by bitter betrayal. 

He adored John Donne. Felix Dennis had impeccable taste in poetry.

And he could never be accused of composing pretend epithalamia. 




Thursday, May 22, 2014

Ween Film

Thanks to William Rowe, Carol Watts, Sean Bonney - and particularly Frances Kruk, plus techie team at Birkbeck College London, for making Ween Film an exhibited moving image reality at London Poetry Festival's visual werx & audio cinematic loop 17-18 May 2014. Aplausos!
https://vimeo.com/95954822