Maud Marian the market lady of Misrule,
Who went over to the dark side with the evil sheriff Knottingbacon.
Deserting Robin for his rival. Super-Grass.
Selling out to the big Merry Corporate Gangsters
And the evil Merry Sheriff. Selling INN/ INN FACTO.
To live life without security is a life not worth living
Was the motto of these cannibullshitters.
Mary Merry Mad Maude paired off with Merddin (MERLIN)
And became christianized as a male Robin Hood.
Merry Mary Mad England, engrossed with MARY worship.
Mary Hill seems a kind of corporate Mary Hell,
A place where aggressive corporate dogs pull your mind apart,
Displaying jewels, drugs and every kind of must-have product
All the most popular, slick, stylish, hell-brands.
We must jump through the flames naked. No Bags. No product. NO LOGOS?
Operate your own Nervous system better. Write? -- http://acrillic.blogspot.com/2008/05/christmas-maybe-merry-but-mayday-seems.html
THE PIG WILL HAVE THE LAST GRUNT. BY ACRILLIC FIGA 2007.
THE PIG MAY HAVE THE LAST GRUNT. By ACRILLIC FIGA (steve 'fly agaric 23' Pratt) 2007.
Pigasus
for Prez’ of Swineland 68-69 & 2012
pigs in space, pigs in time;
in the Chinese year of the pig: 2007
i put my pen to the Tusk
In soilydarity with lush Miss Piggy,
Hogzilla, Napoleon, old Major and Pigsey,
Wilbur, Professor Strangepork, Picasso, Pigasus
and Porky pig
pigs in space, pigs in time;
in the Chinese year of the pig: 2007
i put my pen to the Tusk
In soilydarity with lush Miss Piggy,
Hogzilla, Napoleon, old Major and Pigsey,
Wilbur, Professor Strangepork, Picasso, Pigasus
and Porky pig
The four
legged hog that the label
refers to is innocent of man’s crime.
treated as Swine, in many lands pig denotes
refers to is innocent of man’s crime.
treated as Swine, in many lands pig denotes
bad Authority,
uncleanliness,
consumerism, greed,
and a BLT
consumerism, greed,
and a BLT
What intricate
conspiracy afoot
set against the animal kingdom
against the plant kingdom
set against the animal kingdom
against the plant kingdom
the human
barn-yard mind,
orchestrated by Farmageddon
what vgetable vendetta?
orchestrated by Farmageddon
what vgetable vendetta?
Rolling in mud, eating shit
and their own litter, once in a while,
parallels modern arms factory
economic practice.
If you can stomach a capitalist pig
don’t snap your wig over cannibalism
pigs act pretty peaceful
they don't make Nukes, deploy troops
most roll with styl, most roast.
Pig as profanity! pig police authority,
pig brother, animal in salts.
The pigs may have the last grunt
as the year of the pig makes its course.
--Steve fly agaric. 2007. Edited January 29th, 2012.
I Talk to the dead pig in the sandwhich: Pigasus for Prez of Swineland 68-69 & 08-09? Pigs in Space, pigs in time; in the Chinese year of the pig in 2007' i'll put my pen to the Tusk of taking all pigs to heaven. Napoleon & Old major pigs, Ministry of Pig: 1984! Porky Pigs limbs litter the swine factory floor, Pig as profanity! Pigs as the Police authority, Pig Brother. Animals used as insulting metaphors for humans but Machines, Poisons and sleeping robots rule us? Ass drunk and/or stubborn as a mule like Pigasus parroting the whole dirty Bay of Swine thing, War pigs crawling Begging mercy for their sins - sang Sabbath, But the four legged HOG that the word PIG refers to is INNOCENT of all crimes leagilly piggily crimes! Just a bristly pink critter! There seems an intricate Telepathic Conspiracy afoot against the animal kingdom. And against the Plant Kingdom and supernature, from a human-plants point of view. Orchestrated by humans or machine/Robot/poisoned humans. V' for Vegetable Vendetta. Other than rolling in mud, eating shit and sometimes their own litter (Which makes an illuminating metaphor for modern Arms factory economic practice, invented by Humans), Pigs seem peaceful and intelligent to me, they don't make Nukes, deploy troops or go to Church. The Hippopota-muses lament for their HOG kind Treated like Swine, the pig has become the Animal word used in Western Civilization that reflects the characteristics Of Authority, Uncleanliness, consumerism and greed. Greedy PIG! A poet in solidarity with the lush Miss Piggy, Hogzilla Napoleon, Old Major and pigsy, Wilbur, Professor Strangepork, Picasso, Pigasus and Porky - i hereby swear to clear these Swine of their stereotypical image quickly and their Stereotypical place in human history and knotted Language as Stupid dumb and dirty cheap fodder; useful at Christmas time with a little gravy tea to dip my TOE into. Dirty grunting Ugly pigs until Served up With a little Sauce. The pigs will have the last grunt as the year of the pig makes its course. --fly acrillic/fly agaric 23. 2007. taken from world piss: the spore of the words.
F For Fiffty One DEGREES LAUNCH DJ SET BY FLY AGARIC
51 DEGREES LAUNCH DISKS.
22ND APRIL 2009. WILD BUILDING. DIGBETH. BIRMINGHAM UK. 8.00 PM.
DJ FLY AGARIC 23.
GRAFFITI BLUES – BLUE MITCHELL
IF ITS GOOD TO YOU – EDDIE BO.
TAKE IT ALL OFF – BO DIDDLEY
SILLY SAVAGE – GOLDEN TOADSTOOLS
SOUL POWER – JAMES BROWN
BUMPIN’ BUS STOP – THUNDER AND LIGHTNING.
LOOK-KA PY PY – THE INVADERS
HEY BO – EDDIE BO
BO DIDDLEY-ITIS – BO DIDDLEY
THERE IT IS – JAMES BROWN
STREET PARADE – EARL KING
BO DIDDLEY – ART NEVILLE
JUST KISSED MY BABY – THE METERS.
LIGHT MY FIRE – SHIRLEY BASSEY
LIGHT MY FIRE – MASSIVE ATTACK.
BACK HOME – YUSEF LATEEF
PEOPLE SAY – THE METERS.
LONDON – DAVID AXELROD
SHOO FLY MARCHES ON – DR. JOHN
FEAKS FOR THE FESTIVAL - RASHEED ROLAND KIRK
THERE WAS A TIME – JAMES BROWN
DIRTY HARRY – LALO SCHIFRIN
FATTENING FROGS FOR SNAKES – SONNY BOY WILLIAMSON.
SOME MOTHERS SON – SANDRA PHILIPS.
LOVER AND A FRIEND – EDDIE BO & INEZ CHEATHAM
DOIN’ THE POPCORN – KIM MELVIN
I’M A GREEDY MAN – JAMES BROWN
MIRROR – CHARLIE MARIANO.
AFRICA – THE METERS.
BRING DOWN THE BIRDS – HERBIE HANCOCK
LICKING STICK – JAMES BROWN
LOOK AT GRANDMA – BO DIDDLEY
CRISS-CROSS – THEOLONIOUS SPHERE MONK
TAKE THE ‘A’ TRAIN – DUKE ELLINGTON
COSMIC SEA – MYSTIC MOODS
NIGHT TRAIN – JAMES BROWN
BULLIT – LALO SCHIFRIN
HEY JOYCE – LOU COUTNEY
AT THE SOUL IN – COUNT YATES AND THE RHYTHM CRUSADERS.
MAKE IT FUNKY – JAMES BROWN
QUALIFIED – DR. JOHN
GROOVY BABY – KIM TAMANGA
CHICKEN STRUT – THE METERS
HOWLING FOR JUDY – JEREMY STEIG
ARE YOU TOGETHER FOR THE NEW DAY – THE LOVE EXPERIENCE.
I’VE HAD IT HARD – BO DIDDLEY
I NEED HELP – JAMES BROWN
WHO STOLE MY COOKIE – THE PHILIPS BROTHERS.
TAKE CARE OF YOUR OWN BUSINESS – DAVE HAMILTON.
SWEET POTATO GRAVY – MAURICE SIMON AND THE PIE MEN.
WALK TALL – CANNONBALL ADDERLEY
PUBLIC ENEMY NUMBER 1 – JAMES BROWN
SISSY WALK – BILLY BALL AND THE UPSETTERS
CISSY POPCORN – PRESTON LOVE.
CISSY STRUT – TRINADAD TRIPOLI STREET BAND
ZA ZU – WALLY COX AND THE NATE BRANCH
FOUR CORNERS – LEE DORSEY
THE RUBBER BAND – EDDIE BO AND THE SOULFINDERS
SPONTANEOUS SIMPLICITY – SUN RA
JAZZ CATS - MADLIB
RHYTHM-A-NING – THEOLONIOUS SPHERE MONK
DISTANT STARS – THE HELIOCENTRICS
LIFE – DR. JOHN
Thanks to CHU, and to Laura, Pete and Olie and the Jibbering krewe. Each of the songs were played beginning to ending by myself in an improvised order.
CHU. 51 DEGREES. RETROSPECTIVE AND AUDIO RESPONSIVE.
Symbols and symbol systems reflect off of canvas in a semantical pin-ball gallery. The meaning from each view point in the room changes as the symbol systems encroach upon the viewers perceptions. Smoking fine, yeah your right. Hanging portals and pictures you can fly through in a spaceship, a world of audio components, electronic, mechanical and manual. Communicating vessels from another world, where solid state entities inhabit audio components and where rogue tribes of interplanetary beings hunt down the beats and grooves to make the Universe dance.
Every wire, plug, jack, socket, stylus, speaker and tape entity is grounded in earth – the foundation, the beat and the groove. Music. Music, in some sense is what connects all the pieces on show by CHU. Another way of seeing the work all-together in the gallery is as sound amplification and manipulation – a reaching out by a visual artist over to the sound world of music. A lead, jack, socket, wire, record..to plug into, turn on and power up. In the back of your mind you can now plug in the correct pattern to gladen’ the heart. A stereo guide to word sound image power. Turn on your mind and take the tour.
THE THREE CHU PIECES THAT WERE MISSING!
1. HOLE IN THE WALL
2. BORN IN WALSALL
3. CASTLE GIFT SHOP
These three pieces of gigantic size are great testament to painting OUTDOORS, and are a reminder of the 100’s of OUTDOOR works, 1000's by CHU that are way to large to bring into a gallery, and they are on a wall anyhow, for christs sakes. For anyone who has stumbled upon this writing about CHU’s exhibition: 51 DEGREES – keep kicking yourself as a reminder that he has also painted the world’s largest single-handed aerosol mural! But he would be quick to tell you that world records don’t mean half as much as soul records to im', the audio components and the will to dance, groove and make beats prevails. I will extend my sentiment here to all the Graffiti writers worldwide who are bringing language up to speed using new tools and keeping the four elements interlocking between the streets and the cosmos. Yes boss.
THE RISE OF THE AUDIO COMPONENTS.
After the turmoil of the world banking palava, and the downword spiral of language into Ponzi schemes and overspending the planetary forces have reorganzized and deployed themselves to help humanity rise out of the slump and into the long boom, the perpetual crash of music. BACHWORDS. When audio equipment can grow wires and jacks like a living plant, or when electrical power can be hijacked, along with the infosphere – by biological entities – they have a high probability of taking on the form of communication devices, and symbol systems (hardware and software.) Hardwired and crosswired language bubbling beneath and without the Blackcountry’s equivalent of Japanese Manga. NO, not the rise of the machines, the congress of the audio processes. The interplay between audio components pulled down and out onto canvas by CHU, with the space surrounding them. The forced MUSIC in the head, brought about by the visual cunning of the audio engineered world. AUDIO RESPONSIVE. Remember. The pieces lead into each other.
Maybe the tessellated patterning exhibited on the 3 Pieces - titled MECHANICAL, ELECTRICAL, MANUAL – are indicative of the hologramic style of CHU. Most things i have put down here are nothing new to CHU, he has been sketching this world for more than 12 years. But now we have a manifest environment that pitches the work together, projecting chronological, geographical and aesthetic relationships between the artist and his different mediums of expression. In the gallery space you can feel the holographic forces at work, and can slip on some 3D shades to view his tricky third attempt at a self portrait for the literal graphic 3D experience. Yet on another level i see the broad theory of CHU and his worlds morphing and blending with whatever comes his way, to mean that at the gallery space you can see the development of the pieces and how they fit together. The fitting together of the works seems to be yet another level of tessellation on behalf of CHU, and this method is directly exhibited in the two M.C Escher tribute canvases. And then we come to the cube. And tessellated perception. Immersive environments.
The cube remains beyond description. And the most difficult thing to capture with words. I might start by saying it is a room, built with 4 walls, a ceiling and a floor, but after decorating and chuscaping these numbers flux-chuate depending upon where you are looking from. The form of the cube seems to be related to the average height of human sight, so that distortions and impossible objects can formulate in the spaces, using that data as a starting point. The content of the cube or CHUBE is further scenarios from the rise of the audio components, this time hooking into and out of the giant alphabetical words: ITS NOT BIG AND ITS NOT CLEVER. Icons of electronic music culture, remix culture and audio engineering anarchy, turntables, tape-loops and speakers on the loose, chased by cables through cityscapes, chased by phantom power leads and microphone jacks. The electric word, electrified, like the mechanical bride - the words rise and the machines too, in a great torrent of seeing. In the cube i see no nouns, i only see verbs.
Meanwhile projectors spit light shows and pixel reproductions of moving images, more invaders of the real, chu’s animations and graphics are a book in themselves, from the Walsall Illuminations installations to the VJ shows and animated gifs and computer games themselves, yes. Just take everything i wrote and put more verbs in, the moving images re-circulate the meanings quicker like a semantical windmill, spitting out graphical beings, solid state entities and more. And more...
The exhibition also has the largest ever collection of YOUR MUM RANG memorabilia, a stunning sight in itself, although not immediately making the global extent of the sticker campaign visible in the great OUTDOORS. CHU has been dropping YOUR MUM RANG for 8 years as far as i know, the first sight of which i saw in San Francisco 2002. Visit CHU’s flickr site for the ongoing words to your MUM. Or think about creating your own campaign, transform your environment. Just on it.
CHU seems to me to be of a new breed of aerosol artists, a pioneer of the field and a master of his class he continues to push the edges off and out, keeping the raw experimental edge with the precise tried and tested methods of his craft sharp. The cube was a great effort to arrange, construct, and prepare for CHU, but he laboured on with the project and deployed his CHUMOMETERS to startling effect. TOTAL IMMERSION!
Steve 'Fly Agaric 23' Pratt: Acrillic
51 DEGREES: AUDIO RESPONSIVE AND RETROSPECTIVE. pt. 2
CHU EXHIBITION from Trav on Vimeo.
http://vimeo.com/travart
THanks TRAV. Good JOb.
Click on the image(s) below to see the fullscreen 360 degree panorama(s):
(opens in a new page, requires Apple Quicktime)
For anybody who couldn’t make the show in Birmingham, view the main room from three different angles. You can also view the cube too.
If you’re interested in having one made, let me know.
Its possible to create them entirely in Flash too, without the need to download Quicktime, view the high resolution example of the experimental cube.
| posted on May 04 2009
Life is short, the art long, opportunity fleeting, experiment treacherous, judgment difficult
-Hippocrates
Nearly my whole creative experience I have been toying around with virtual spaces and thier exploration. Since I began working in CGI (on the ZX Spectrum VU-3D by Psion March 1983) and then into papercrafting and print techniques, I have been on a mission to merge the crafts and techniques and give the user experience more validity, or basically give the onlooker a super-human power, instead of me, the artist.
For years I had considered the cinema 360 shows at the seaside and the stereoscopic applications, with red/blue glasses etc. that are familiar, hi-tec experiences you can have in many venues in various cities around the world. Six years ago I hit upon a technique that would replicate, or reverse engineer, the effect of a Quicktime VR movie or QTVR. QTVR’s construct an all around photographic experience from a single viewpoint, in the centre of a cubic space. My thoughts caught fire when I considered that it could be a real cube, and the centre was the natural, average height of a human eye level.
Click this image to see a small version of the demonstration model that you can print out and make:
For 6 years I believed the object necessary for this centre was to be 12 foot by 12 foot by 12 foot. Just before I had the oppurtunity to practice the concept, it hit me that the natural centre of a cube, a 5 foot 10 inch person, would require an 11 foot 6 inch cube.
Rich Holland was the keen craftsman gifted with the task of building the walls and ceiling on the floor of the Wild Building in Birmingham. It took 3 days and over 2000 screws.
The cube was launched at the preview night on 23rd April. To aid the viewing whilst the door was closed the very able Peter Dixon fitted a pendant 150W lamp 3 foot down from the centre of the ceiling, evenly casting light into the corners of the cube.
I have to admit to getting a little cabin crazy whilst I worked inside the cube. After a while I was unsure what was the floor, and what I could rest on whilst I worked on the ceiling and floor. The sheer scale was a little ambitious in the timescale of the show, only two weeks to view this manifestation of a crazy idea I had. I hope to return to the next phase and hopefully bring it to London. In the meantime, enjoy a little version I made of it that you can view on-screen (Apple Quicktime required)
Click on the image(s) below to see the fullscreen 360 degree panorama(s):
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