structures (homes, public buildings) that simultaneously beg the question of disintegration (how far can something fall apart before it ceases being that thing?) and which enunciate socio-elemental legacies of the middle east: the architecture of mehrdad iravanian conjugates the folkloric and the hypermodern to form a transtemporal cybernetics of design.
boal was the founder of the theater of the oppressed, named in honor of paulo freire's pedagogy of the oppressed. boal's improvisatory approach considered the soapoperaesque 'tragi-dramas' of most contemporary theater to be a diffuse, unwitting tool of state control.
amacher, a sound artist who studied with cage and stockhausen, and who currently teaches at bard, has no (or negligible) interest in recordings. her work, which is primarily concerned with psycoacoustics, is too immersive for compact disc and is highly site specific (i.e. the teotihuacan pyramids.) live, her music is a an exercise in perception, confusion, euphoric rush, and deterritorialization.
this interview from '99 goes into amacher's interest in architecture, science-fiction (ballard & eshun!) and turning places into sound:
as mentioned in the blog below, the dominance of the french new wave and so-called american independent film in cinematic discourse is long overdue for a dispersion; what i'd like to suggest is a working list of independently-minded films and filmmakers which offer other perspectives on the form, be they postcolonial, emerging out of nonalignment movements, feminist, etc. these films recognize that micropolitical intervention finds struggle and problematics at the very level of form. think of this not as an anti-cannon, but simply a countercartography.
handsworth songs, who needs a heard, seven songs for malcom x, the black audio film collective
2046, wong-kar wai
79 springtimes, santiago alvarez
the apu trilogy, satyajit ray
bad lieutenant, abel ferrara
bad timing, nick roeg
battle of algiers, gillo pontecarvo
blade runner, ridley scott
close-up, a taste of cherry, abbas kiarostami
the cloud capped star, ritwik ghatak
elephant, alan clark
ganja & hess, bill gunn
the gleaners & i, agnes varda
heat, michael mann
hour of the furnaces, octavio getino & fernando e. solanas
The highly combustible (roughly) two-year period in Brazilian history in which the Tropicalia movement swept through music rightly receives much press (see Caetano Veloso's Tropical Truth for what could be as close as a definitive document for such a highly deterritorialized moment): a total liquidation of high and low culture constructs, prefiguring eclectic digitalia thirty years early.
However, the period immediately following ('70-'75, let's say) was at least as musically rich, if not as conspicuous in its deconstructionist fervor. While Laurel Canyon was a few thousand miles away, the Brazil70 aesthetic was not entirely removed from the same post-trip mellowness, if not somewhat less insular and markedly more comptent compositionally.
Here, in time for summer, and in no particular order are nine crucial post-tropicalia Brazilian records.
Novos Baianos-Acabou Chorare: Communal-folk stylings, some subtle, downcast-cosmic samba cannibalism, one or two sudden acid guitar solos to keep things from getting too soporific.
Gal Costa- India: Even split between early bossa Costa and a sort of pan-global, extended groove style marked by some tangoesque accordian work.
Milton Nascimento- Clube de Esquina: Collaborative record with Lo Borges, 'spiritual' in the best way, shimmering arrangements, an overall sophisticated-rural vibe.
Edu Lobo- Missa Breve: Langorous, lapsed-Catholic, slowed-down MPB. Most of Lobo's LP's from the 70's are keepers.
Arthur Verocai- s/t: The Brazilian David Axelrod? Huge breakbeats, angular string arrangements, swaths of delay feedback, gorgeous melodies. This has been sampled to death so crate-diggers keep moving, probably.
Jorge Ben- Africa Brasil: Ben, among other things, really enunciated the influence of West African rythm in Brazilian musics, as well as on this disc progenating a few strands of proto-disco DNA. Trivia: the track 'Taj Mahal' was pilfered in its entirety for Rod Stewart's "If You Think I'm Sexy."
Caetano Veloso- Joia: Whispy, fey, gossamer strands of voice, mbira, hand-percussion and a Beatles cover (Help) make this one of the least insufferable "domestic solo" LP's.
Caetano Veloso- Araza Azul: The influence (and excellence) of this record cannot be overstated: a post-acid musique concrete aprroach to the last half century of Brazilian song: microtonal singing, loops of fragments of songs, field recordings, and some quite subtle choices in pitch, panning, and mic placement. Playful, experimental, and surprisingly listenable, even to the uninitiated.
Nelson Angelo e Joyce- s/t: Angelo and Joyce were newlyweds when they recorded this LP, and it shows in the best way:dimly-lit, closely-harmonized guitars and voices, almost reverse-psychedelia (expansively intimate, cosmos within.)