Monday October 16, 2017

The star of a popular TV show paints dollar signs on her fingernails to demonstrate her love for former US president Barack Obama. She and her fellow Democrats don’t seem to have learned much since last year’s election. Insulated by their money and their privilege, they remain clueless as to why they’ve lost control of all branches of government.

Broad City Dollar Signs

My mind, however, is elsewhere. I continue to dwell upon psychedelic imagery from one of the performances I caught this weekend. Washed Out teamed up with Brainfeeder-affiliated visual artist Timeboy to create music videos for each track on the band’s latest album, Mister Mellow. The videos utilize several forms of animation: everything from stop-motion and claymation to hand-drawn cartoons. The band projects and modifies all of this dynamic imagery in real-time during live performances using Kinect 2.0 devices: motion-sensing “depth” cameras, basically, designed by Microsoft for use with Xbox One. Sarah joined me for a beautiful late-afternoon stroll through a garden yesterday, where we were graced by magnificent monarch butterflies, a pink wildflower anemone named “Queen Charlotte,” a fence post covered in flowering snail vine. We imagined ourselves entering and exiting zones filled at once with the romantic drama of the strolling couple, and at a different scale, observable only when the couple peers down on occasion, a world teeming with ecosystem narratives: complex interactions between predators and their potential prey. Perceived at this level, suffering and decay seem almost painterly in their abstraction. I realize that I spend too much of my life torn between warring impulses. Should I spend my life immersed in texts or in nature? I commit myself fully to neither speech nor phenomena. Broad City more than makes up for past crimes, by the way, with its latest episode, an animated shroom-and-cannabis-fueled extravaganza by artist Mike Perry.

broadcity_mikeperry_intro

The alarms, the intensities, objects melting and reforming: together, it amounts to a grand de-reification of reality. So much more pleasurable than the gritty nicotine-crack-alcohol police-and-criminal-class hustle-drama dished out by David Simon’s The Deuce.

Sunday October 15, 2017

Let’s put the revolution back in crazy talk. Grab people by the collar, get up in each one’s face and shout, “The revolution begins now, motherfucker!” Or (to remove any suggestion of aggression): “The revolution, an event of super-humanization affecting the one and the many, begins now, with chemically-assisted transfiguration of consciousness.” Mass exodus from participation in the social sacrifice of life via labor. “Capitalism ain’t getting shit from me,” smirks the narrator as he starts his break. Marx was at his most Marxist in his hatred of work. “Fuck wage labor,” he’d say, “I’m gonna go hang out all day in the British Museum Reading Room!” The anti-capitalist martyr remains an important latency in my political identity. An impossible self I’ve at times admired, a fatal temptation to which I may yet succumb. Weed is very much for me an example of “appropriate technology.” A tool for creative self-experimentation with consciousness. Peter Mortensen investigates a similar such view in his essay “Tripping Back to Nature: Aldous Huxley, Psychedelics, and Pro-Technology Environmentalism.” Earl Hooker’s “Lucky You” scored yesterday’s venture into the psychedelic unknown.

Stoned at a local outdoor music festival. Relaxing sunlit on a grassy hill, while bands perform below. Could this event have served as a turning point? And if a turning point, away and toward what? The vibe was surprisingly negative at first, as if festival-going were the performance in an evacuated church of a belief-less ritual. I still believe in these gestures, however, says the participant, my vomit reserved only for poor execution of ceremony. Beautiful out here under the night sky. The universe arranged for me. And on the date of my parents’ anniversary, no less: my locale, assembling itself in celebration. Spider Bags speak to me, testifying, “I found inner peace by ignoring things.” Is that what I want on my tombstone? Shit started to feel exactly that existential as I stood there afraid of slipping down a hill. “That’s a long, long way to roll,” sang the band. I could see stars above as they chanted, “Who will I be next?” The self must avoid destroying itself for those it loves. Particularly affecting was a song the band performed with NC blues singer extraordinaire Reese McHenry.

The night melted into super chill vibes, though, with level-up conversation and synesthetic animation, once headliner Washed Out took the stage.

Paranoia subsides, and the crowd sways like wind-blown grass. This is how it begins, the participant thinks to himself. This is how you educate desire. This is how heads are turned.