Heres the introduction to excerpts from this bk thatre presented in tENTATIVELY, a cONVENIENCEs compendium entitled: footnotes:Have we been introduced yet?A couple of years after I published t he book t he referent 4 wch consists of t heMoreHeres the introduction to excerpts from this bk thatre presented in tENTATIVELY, a cONVENIENCEs compendium entitled: footnotes:Have we been introduced yet?A couple of years after I published t he book t he referent 4 wch consists of t he non-materialized transparent punch-outs from a letter/whatever stencilI created a text piece called PLAY OUT REGRESS wch was a reworking of my 1st encoding piece: my high-school yearbook entry, age 16, written in 1969.
The title is, obviously, a take-off on WORK IN PROGRESS but it was also meant to refer to a formal restriction that I was considering: to NOT publish any further writings unless they were rewritings of texts of mine in a progressively regressive lineage. As such, the next major piece of writing post PLAY OUT REGRESS wdve had tove been a rewriting of writing of mine written prior to the yearbook entry.
I didnt pursue this restriction but the thought of it mayve been something that added to my not publishing another book until Yet Another Slow Burning Feast of a Few Months Mischief in the U.K,, Maybe (A Partial(ly) Epistolary Account of Non-Non & Non-Participation, Maybe) cocreated w/ my travelling companion/girlfriend of the time: Laura A.
Truesell who renamed herself Laura A. Trueseal in partial honor of the seals we met when we were at the North Sea. This was published over 11 yrs after the 1st book.This bk, as its title (wch I usually cant even remember) says, is a partially epistolary account of a few months mischief in the United Kingdom in 1988EV (the United Kingdom includes colonized Northern Ireland, right?!
Nyuk, nyuk!) & was mainly intended as a report for friends. This was a very romantic time for Laura & myself &, weighing in at 4 mnths, the longest trip Id ever taken away from Harm City (BalTimOre). It was a (mostly) wonderful time - full of collaborations w/ great people like English mail, copy, & button (etc) artist extraordinaire Mark Pawson & Scottish neoist Pete Horobin - amongst many others too numerous to list here.OK, ok, do you hate that too?
When people dont provide a full list? Sometimes I do, so Ill try to provide a fairly comprehensive one here: Mike Kane, L.A.W., Inoralsect (Pete), Martin Walker (Stewart Home), Lech Harrison, Stephen Perkins (visiting from the [email protected]), Sianed (Sianed Jones from the group slant), Dip Mandazi (cris cheek - also from the group slant), Stefan Szczelkun, Graham Harwood & Minder (a dog), Naomi (a friend of Lauras), Joel Biroco, Shaun Caton, Andre Stitt- & in Paris: Reinhardt U.
Sevöl, Via Vidorae, Lisa, C.Ernst, Elisabeth Morcellet, Lisa Suckdog & Costes, NATO.Many generous & friendly folks opened their homes to us. We stayed in London w/ Mark, in Glasgow at Jayne Taylors place, & in Dundee w/ Pete. Laura & I went our separate ways from time-to-time & I went to Paris for a little while.All in all, it was an amazing trip - indeed, full of mischief.
I made a 2 hr quasidocumentary of the whole experience called Homeless Movies. The bk was that movies companion volume. In Dundee, the painter Laura Ann Walker made the drawing that adorned the cover of the bk & then a painting from that thats hanging in a university bar somewhere in London. A photocopy of a foto of that became part of the Homeless.. packaging. Laura Anns marvelous painting was a tribute to Laura Adeles & my visit - & shows, amongst other things, the crossbones tattoo on my chest.Life had changed for me ENORMOUSLY since my isolation during the time of writing t he book.
I was heavily involved in various patanational movements & corresponding w/ up to something like 1,400 people - all of whom I was managing to keep track of enuf so that my correspondence wasnt just the typical impersonal spreading-of-crap-around that constituted much mail art.Alotof what Laura & I kept busy w/ revolved around projects related to Pete & the DATA Attic where he lived in Dundee - wch was where we stayed for 2 mnths. Pete organizes his life around decade long identities. In the 80s, his thing was the DATA Cell.
In 1988EV, he was documenting his life on form sheets into wch he slotted data about his physical status & daily activities. Laura & I participated in this for 2 wks. A sample sheet is reproed here.The DATA Attic was a great place. Mark Pawson had specially wall-papered much of it w/ photocopies (you can see some of the wallpaper in my Collective Gallery poster). Pete was in the habit of making straight-forward interview videos w/ his guests & I frustrated him to no end by continually making our plans to make one w/ me more & more complicated.
We made plenty of work together - but no simple interview.Id long been interested in the activities of Genesis P. Orridge & associates & had written a few times to Throbbing Gristle since 1978 - w/o ever getting a reply. My collaborator & fellow neoist John Berndt had delivered a vaudeo compilation Id assembled to P.
Orridge to his Beck Road house in 1986 but Id never had any contact w/ him. Now, in London, I connected w/ James Mannox who took me to the Beck Road place where I met Simon of TOPY (Temple of Psychic Youth), who was certainly an interesting fellow, but no P. Orridge. Hed relocated to Brighton. Later, remembering a P. Orridge story about his claiming to be a friend of Allen Ginsburgs in order to do something or another, I claimed to be a Close Personal Friend of Genesis P.
Orridge on an ad for an action I performed in an Edinburgh gallery to see if it wd attract a crowd.The trip to France went undocumented in Yet Another,, but was adequately represented in Homeless Movies. W/ just enuf money to pay for the round trip bus ticket from London to Paris, I borrowed a super-8 camera from cris cheek & filmed myself 1st travelling in the undergound/subway in a circle around London before filming the trip across countries.
A meticulous & exhausting film, all in single-frame shooting, made for Owen OTooles exceptional Filmers Almanac collaboration. As it turned out, it didnt turn out. Apparently the camera didnt work. Oh well.I arrived at the Paris bus stn where Reinhardt U.
Sevöl was supposed to meet me, dressed wearing my pants & jacket made entirely out of zippers & w/ my head shaved to show my 3-D brain tattoo.. but there was no Reinhardt. I only had a pound or so left & maybe some coins, maybe a French coin or 2, so I went to a payphone to try to call him - only to discover that they only took phone cards - wch I cdnt afford to buy. While I was standing there exasperated by Reinhardts inconsiderateness & wondering if I shd turn around & go back to London, a DJ from the south of France started talking to me.
He figured I must be an industrial musician & he was into industrial music.Thanks to whoever this DJ was (THANK YOU!), I got connected to Lisa Suckdog & Costes. As it turned out, Lisa had been affiliated w/ a group called Psycodrama [sic - Brett, one of the main guys in this assault group, had originally spelled it Psychodrama but then deleted the h because We cant spell] - wch I was an honorary member of.
She quickly produced a list of people that Brett had given her of people she shd contact & there was my name & address. Small world. Esp. the lunatic fringe. I made a movie w/ them & they took me to NATOs place where I shot something w/ him too. NATO supported himself giving kinky sex performances for rich people - or something like that - a bunch of naked women riding him around like a horse? I finally connected w/ Reinhardts lover, performer Elisabeth Morcellet, & stayed at her place w/Reinhardt after he came back from his bender or whatever he was in the midst of that led to his not meeting me as wed prearranged.Theres so much to tell about this period.
Even Yet Another.. & Homeless Movies are far from comprehensive. To make it worse, for the purposes of footnotes, well settle for the tiny smattering of: Yet..s cover, the 1st 5pp, & the last 9.