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Planetary Motions
, published by Giant Steps Press, is now available on Amazon for $14.95. The Giant Steps website is https://giantstepspress.com/.



Spoor of Desire: Selected Poems
is available for $16.00 from FootHills Publishing, P.O. Box 68, Kanona NY 14856 or see www.foothillspublishing.com.

Tourist Snapshots was available from Randy Fingland's CC Marimbo, P.O. Box 933, Berkeley CA. CC Marimbo has, unfortunately ceased publishing, though I still have a few copies to spare.

Dada Poetry: An Introduction was published by Nirala Publications. It may be ordered on Amazon.com for $29.99 plus shipping. American buyers may order a copy from me for $23 including shipping.

Each book is available from the author William Seaton.


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Showing posts with label conceptual art. Show all posts
Showing posts with label conceptual art. Show all posts

Thursday, February 1, 2024

An Evening at Soulshine

 


 



     The event was produced on December 20, 2023 at the Soulshine Market in Pine Bush, New York by James Pogo.  Dan Andreana performed poetry scored like music stretching words to their limit with expressive variation in pitch, volume, and timbre.  Then James Pogo and his associate Kevin, performing as Flux Duo ++ passed out party hats and lay on their backs shirtless with lit candles in their navels while playing a little toy organ and leading the audience in “Happy Birthday.”  The third portion of the program was a set of simultaneous readings by me and Patricia.  The evening was concluded by Steve Roe who carefully set the stage, lighted it, and performed a moving song dedicated to the children of Gaza.

     Artist Tom Gargiulo, only just arrived from Florida, introduced the performers.

 

 

document 1:  a sample of Dan Andreana’s texts

 

Softly 1/8/19

 

nil ad sense a)voided

oh doze on the lid!

brat shines boldly

bodily in every nigh(t

hangar shut down

with doug fir sprigs

needling the crossing guard.

they sings the songs

and sonnets of tar

burnt under a frond

like paper clippings.

your’sis hours in t)his.

a gradient of wan

to wax above

the rippled sea

in a gully of sand.

she waits on the bar(d

expecting any moon

for the path(age

over the moss.

 

 

25#2 (2017)

 

S take urn

table lego BL

ox E blew shrill

tower over crow

D lighted my lift

on 47th teen strut

terd door from the Reich

a champion rains on

foul ingot morsels

stuck to frozen lip edge

G oughtta rat a tat

sir man on the muonty

red queer queen a miss

blacking out the middle

slight offended shuffle

T rye red shot guzzler

shooting from hip

corner pocket

got a rocket in?

lawn before the dawn

tossed out the water

grayer than black is white

just before going to work

she said why knot?

So we tied one on

 

 

 

document 2: William Seaton’s simultaneous readings

 




Elizabeth Barrett Browning/ Henry Miller

 

 

Yet, love, mere love, is beautiful indeed

And worthy of acceptation.  Fire is bright,

Let temple burn, or flax; an equal light

Leaps in the flame from cedar-plank or weed:

And love is fire.  And when I say at need

I love thee . . . mark! . . . I love thee—in thy sight

I stand transfigured, glorified aright,

With conscience of the new rays that proceed

Out of my face toward thine.  There’s nothing low

In love, when love the lowest: meanest creatures

Who love God, God accepts while loving so.

And what I feel, across the inferior features

Of what I am, doth flash itself, and show

How that great work of Love enhances Nature’s.

 

 

Sauntering along the boulevard I had noticed her verging toward me with that curious trot-about air of a whore and the run-down heels and cheap jewelry and the pasty look of their kind which the rouge only accentuates. It was not difficult to come to terms with her. We sat in the back of the little tabac called L’Elephant and talked it over quickly. In a few minutes we were in a five franc room on the Rue Amelot, the curtains drawn and the covers thrown back. She didn’t rush things, Germaine. She sat on the bidet soaping herself and talked to me pleasantly about this and that; she liked the knickerbockers I was wearing. Tres chic! she thought. They were once, but I had worn the seat out of them; fortunately the jacket covered my ass. As she stood up to dry herself, still talking to me pleasantly, suddenly she dropped the towel and, advancing toward me leisurely, she commenced rubbing her pussy affectionately, stroking it with her two hands, caressing it, patting it, patting it.

 

 

Nicene Creed/deSade

 

I believe in one God, The Father almighty, Maker of heaven and earth, Of all things visible and invisible. I believe in one Lord Jesus Christ, The Only Begotten Son of God, Born of the Father before all ages. God from God, Light from Light, True God from true God, Begotten, not made, consubstantial with the Father; Through him all things were made. For us men and for our salvation He came down from heaven, And by the Holy Spirit was incarnate of the Virgin Mary, And became man. For our sake he was crucified under Pontius Pilate, He suffered death and was buried, And rose again on the third day In accordance with the Scriptures. He ascended into heaven And is seated at the right hand of the Father. He will come again in glory To judge the living and the dead And his kingdom will have no end. I believe in the Holy Spirit, the Lord, the giver of life, Who proceeds from the Father [and the Son], Who with the Father and the Son is adored and glorified, Who has spoken through the prophets. I believe in one, holy, catholic and apostolic Church. I confess one Baptism for the forgiveness of sins And I look forward to the resurrection of the dead And the life of the world to come. Amen.

 

The idea of God is the sole wrong for which I cannot forgive mankind. To judge from the notions expounded by theologians, one must conclude that God created most men simply with a view to crowding hell. There is no stupidity religions have omitted to revere; and you know just as well as I, my friends, that when one examines a human institution, the first thing one must do is discard all religious notions. They are poison to lucidity. Let nobody doubt that religions are the cradles of despotism. The first of all despots was a priest; the first king and the first emperor of Rome, Numa and Augustus, both allied themselves with the priesthood; Constantine and Clovis were abbots rather than sovereigns; Heliopolis was the priest of the sun. In all times, in all centuries, despotism and religion have been so thoroughly interconnected that, as is easily demonstrated, in destroying one you undermine the other, for the profound reason that each will help the other to gain power.

 

 

Hitler/Marx & Engels

 

Aryan tribes, often almost ridiculously small in number, subjugated foreign peoples and, stimulated by the conditions of life which their new country offered them (fertility, the nature of the climate, etc.), and profiting also by the abundance of manual labour furnished them by the inferior race, they developed intellectual and organizing faculties which had hitherto been dormant in these conquering tribes. Within the course of a few thousand years, or even centuries, they gave life to cultures whose primitive traits completely corresponded to the character of the founders, though modified by adaptation to the peculiarities of the soil and the characteristics of the subjugated people. But finally the conquering race offended against the principles which they first had observed, namely, the maintenance of their racial stock unmixed, and they began to intermingle with the subjugated people. Thus they put an end to their own separate existence; for the original sin committed in Paradise has always been followed by the expulsion of the guilty parties.

 

The history of all hitherto existing society is the history of class struggles.  Freeman and slave, patrician and plebeian, lord and serf, guild-master(3) and journeyman, in a word, oppressor and oppressed, stood in constant opposition to one another, carried on an uninterrupted, now hidden, now open fight, a fight that each time ended, either in a revolutionary reconstitution of society at large, or in the common ruin of the contending classes. In the earlier epochs of history, we find almost everywhere a complicated arrangement of society into various orders, a manifold gradation of social rank. In ancient Rome we have patricians, knights, plebeians, slaves; in the Middle Ages, feudal lords, vassals, guild-masters, journeymen, apprentices, serfs; in almost all of these classes, again, subordinate gradations. The modern bourgeois society that has sprouted from the ruins of feudal society has not done away with class antagonisms. It has but established new classes, new conditions of oppression, new forms of struggle in place of the old ones.  Our epoch, the epoch of the bourgeoisie, possesses, however, this distinct feature: it has simplified class antagonisms. Society as a whole is more and more splitting up into two great hostile camps, into two great classes directly facing each other — Bourgeoisie and Proletariat.

 

document 3: the Flux Duo ++

 





document 4: Steve Roe’s song

 




“Blue”

 

Intro (spoken): “it is said that our understanding of happiness comes from the experiences of our childhood.”

 

Hold up sign “blue.”

 

Hold up sign “for the children of Gaza.”

 

Sung:

 “keep things simple, my love, and look at the sky….. it’s blue”

“Sit by my side, my love, and stare at the sea…. It’s blue.”

Keep your heart true, my love, for we are all born to die…. It’s blue.”

Friday, June 1, 2012

Surreal Cabaret 2

1. press release

A Surreal Cabaret will be presented at 7:30 p.m. on Friday, May 25 at the Orange County Citizens Foundation, 23 White Oak Drive in Sugar Loaf. Admission is free. The event, produced by David Horton and William Seaton as part of an ongoing Surrealism Festival, will feature a series of short acts with local artists in performance. Refreshments will be available and admission is by donation.
Like the first Surreal Cabaret last December, this event is a tribute to Surrealist émigré Kurt Seligmann (on whose estate the event will be staged) each work will contain elements influenced by Surrealism. Acts may cross genres from poetry and drama to dance and music. The audience can expect conceptual play, experimentation, improvisation, and audience involvement.
Producers of acts include James Antonie, Michael Sean Collins, Kevin Geraghty, Janet Hamill, David Horton, Steve Roe, William Seaton, and John Toth. Further details are below.
Surrealism Festival events will continue at least through next fall. A show of contemporary collage curated by Jonathan Talbot and Jessica Lawrence is currently on exhibit. Upcoming events include a film screening with director Jacob Burckhardt on April 27, a dining event with pasta made on Seligmann’s etching press in July, and a poetry workshop with Janet Hamill in September. In addition, next fall an exhibit will open featuring Seligmann’s own work and rare photographs documenting Surrealism in Orange County.
The series is produced by the Seligmann Center for the Arts at the Seligmann Homestead with the cooperation of Orange County Citizens Foundation.
Further information is available from William Seaton at seaton@frontiernet.net or David Horton at doctortinker@gmail.com.

2. invocation by the Lama Swine Toil

I am pleased to see that you have returned for a dose of our salutary spring tonic. Open wide – your eyes, your ears, and your mind. In preparation for our setting out for unknown realms, at once so distant and as close as each of our skulls, I shall invoke the ancient goddess called by many names whom artists know as that most fickle beloved, the Muse.

-- May she come among us this evening and every evening.
-- May she awaken our soul like a new Rip Van Winkle, wandered back to town again but this time to find that everyone else has been asleep and only he awake and thus he is little understood!
-- May she bring order to those parts of our minds that are disordered while, at the same time disordering the orderly!
-- May she stir our hearts to small leaps and bounds like goats in a field running nowhere!
-- May we feel her texture like most intimate moss, like quizzical tomato leaf, like the orderly asphalt, like cleverest rabbit fur, like thoughts yet unthought . . .
-- May our work tend always toward the enlightenment of all sentient beings!

The vision passes from world to artist to work to you, the saving remnant, o practitioners of sensibility, and what you will do with it will make tomorrow.

3. Featured artists:
After opening words by Surrealist chaplain, the Lama Swine Toil, William Seaton will read his “adult nursery rhymes” before a background of projected images.
Next Janet Hamill performs her surreally inspired poetry to the ambient drone rock and roll of Lost Ceilings featuring Bob Torsello, Mark McNutt, and Greg Feller.
Then Steve Roe presents an excerpt from and variation on Robert Ashley’s opera That Morning Thing performed and adapted by COPE (Council of Poetic Experimentation) for voice, dance, musicians. Al Margolis (of Pogus Productions) has agreed to perform as musician. The excerpt deals with the relationship between the rational and its opposite. A description of a strange erotic encounter is described while a dancer performs to live music.
Kevin Geraghty will next present The Conference, a brief theater piece in which he, Larry Portner, and Steve Roe portray businessmen engaged in a most curious non-verbal conference.
James Antonie, known for the University of Utopian Determinants and the Micro-Gallery, will then perform The Alchemist showing the process of transformation and the discovery of the philosophers’ stone.
The Four Grape Theory of Human Functioning will be explained by Dr. Thelonious Tinker with an introduction by David Horton. There will be a live demonstration of Dr. Tinker’s Creation Vibration Booster.
Michael Sean Collins will perform a surreal theatrical poetic narrative of the absurdly macabre.
Finally John Toth will present The Nurse's Back: Apparitions on a Landscape, a work Holly Fairbank (choreographer/dancer) and John Toth (sculptor/digital artist) collaborate on a performance-installation piece inspired by Salvador Dali. Using fabric as pages of a life-size “book” to create places for video and photography projection, Fairbank has opportunity to interplay with her own image as well as other images to examine an interior mind-scape much as Salvador Dali alluded to in many of his surrealist paintings. Various sections of the piece can be viewed at www.johntoth.net/dali/nurses_back.htm.

4. poster by David Horton