Sejaynoe at Cezanne piece

Sejayno Show @ Digital Cezanne
Sejayno is a group of three: Instrument Maker Peter Blasser (Baltimore), Troubadour/Guitarist Carson Garhart (Baltimore), and Performance Poet Severiano Martinez (Oakland, CA). We are inspired by Cezanne’s ability to circumvent the materialist eye and depict objects directly to the mind’s eye. This project will enable us to channel cultural mis-understandings, hallucination, and steganographics (hidden messages in writing) into sound, culminating in a panel-discussion about the work itself.
Objective
∑ To explain how we relate to Cezanne in a 40-minute multimedia show. We will use PowerPoint, new cybernetic instruments, hypothetical ethnomusicology, as well as traditional musical instruments to explain several core concepts as follows:
∑ To demonstrate Cezanne’s relation to post-modernism via meta-vision, ambiguity.
∑ To revisit the 19th century aesthetic of mis-appropriation, vis-à-vis the composer Debussy’s interpretation of “The Orient” at the 1889 Paris World’s Fair.
∑ To channel Rudolph Steiner’s technique of Reverse Time Marketing, or the presentation of a media-related idea intuitively. Sejayno are avant-garde / forerunners of culture production anonymously ahead of time. This can also be referred to as spontaneous advertising.
(we hold the gold): Peter and Carson’s plane tickets to Oakland, for production sessions in December
(we hold the gold) : Seve’s plane ticket from Oakland for the event
(we hold the gold): Performance fee
(we hold the gold): Total
Past Presentations
∑ 01/30/2005- CEAIT festival, Redcat Auditorium, Los Angeles, “Intuitive Electronics (not)”
∑ 03/03/2008 -Theosophical Society, Baltimore, “Psycho-Spiritual Tunings on Qin and Tar”
∑ 07/10/2009- Whartscape, Baltimore, “Video Conference from Silicon Tehran”
∑ 08/10/2009- Sommerkamp Workstation, Haus der Kulturen der Welt, Berlin, “Deerhorn”
∑ 08/24/2009- Moltkerei Werkstatt, Cologne, “Reverse Time Marketing”
∑ 10/16/2009- Harvestworks, New York City, “Ciat-Lonbarde Enneagraphic Business Plan”
Work Samples Online
http://www.youtube.com/watch?v=fFd9tTt0MC8 (Mazdaznan, a piece for El Jazeera)
http://www.ciat-lonbarde.net/harvestworksspiel.ppt (presentation on instrument design)
http://sejayno.wordpress.com/ (Sejayno’s collected cultural texts and memes)
Discography embedded on Demo CD
1) Alien Eyes / Scion, Reverse Time Marketing commercial for car company
2) Symposium, from Sejayno : Quantus on EHSE records, 2008
3) Mark Steiner Theme, a whole-tone composition with variations in hypothetical ethnomusicology, with poetry by Rudolph Steiner (work in progress)
4) Civil War Boys, from Sejayno : Laity on Megaphone records, 2007
5) DONNING THE Diving BELL, DESCEND THRU BUBLS PAST BUOY BALL and FREAKED OUT SCUBA HEAD, CALL THRU THE LEATHER TUBE and NOONE IS LEFT on the BOAT, AS YOU SINK and SETTLE IN THE SILT WHERE THE SUBMARINES BELLOW, from Sejayno : Sedainty on Heresee records, 2006
6) Dastgah E-Segah, computer music based on Iranian music theory (work in progress)
7) King’s Court, a video performance for conch/theremin orchestra, metaphysical jester, and duke.

Sunya at Jelenia piece 3.1

Babylon 5 piece 1

DUSTED REVIEWS “QUANTUS”

ELECTRO MUSIC GATHERING

STEINER 188.9

Thanks be to dennisovich for documenting the performance!

 

Benjolin

Benjolin Inst on Workbench

Sitting in the morning to write an essay about the Benjolin Instrument, I am struck by the misty remembrances of a New Jersey mountain lake at sunrise, late october.  Remembering the last nite purple bearded man: “electro-music gigging in L.A., there’s a sushi bar on the south side, and the woman there has the biggest tits, you know asian women have small tits; we got a nice car, got some weed, got some pussy”  that was in the dining hall of the Salvation Army camp.  Meanwhile back at the woodstove cabin, Rob Hordijk and Joker Nies were leading a workshop to make his Benjolin Inststruments.  He was worried that the Zeitgeist instrument latches up, which is something I have noticed on the Benjolin, too, that when you turn it on first it is silent, then you must kill it and bring it back on and it’ll start up.  Kind of like a “start sequence” to play the thing; once it revs it’s going though.  Rob said that to gold plate something, the easiest way is to dissolve gold in mercury, make a paste, paint the paste, then evaporate the heavy metals in an oven, those dudes lost their hair, blind.  Perhaps sexual tourism was to blame for the fact that the Benjolin kits were lost in the airports on the way to the USA, that they didn’t come till after the workshop!  They were here in Balt, waiting for the kits, and Rob’s like “I have a feeling they won’t come”, so we did the workshop anyway!  This is what I did- the day before I had bought 2 chickens, 1 large lamb leg, 1 small goat leg, and papaya.  Half of those legs are still in the Freezer, for they were quartered at the butcher, they are marinated in Papaya and spices.  The other half I seared on Twig’s grill on a gray evening while discussing our coming set with Carson (this is Peter writing).  After the flame had burned them sufficiently and the philosophy was thus expounded (Rudolph Steiner vs Mark Steiner), I put them over halved egg-plants in an aluminum basin and let them stew in the griller on low.  Back down in the main room of T-hill, I had a pot boiling chicken in chimay (homebrewed with spice bush berries).  The beer was also served gratuitously at the bar.  Following an initial “chat” session, we all sat down and Rob delivered a Poower Point lecture on his Benjolin, which often referenced “Japanese dudes with their digital rigs” and we spoke also of the “Rungler” circuit, which may be a simulation of the process behind the fact that the kits had been lost in the mail!

Pictured is the Benjolin that Rob gave to me, installed in medical aluminum, with intrinsic power supply.  Thanks to him for designing such a sweet sounding purrer!

 

 

DEARCLEANING

MARK STEINER PLATEAU TABLEAU PART 1. CLIC THE PIC.

Perspexed Alive (a la Poe)

It was an early fall in our fair city of Baltimore.  My knees had already begun to ache in their manner which was characteristic of the colder nights and rubrefacted sumach leaves of my autumnal front yard.  My wife, too, had begun her celestially timed plaints of “cold, cold” in the middle of the night in the middle of her dreams.  It seemed the perfect time for a feast of dusky and gothic poetry by our patron saint Monsieur P__, who has been corporeally absent for at least 100 years but now still here with us in spirit, as a sort of phantasm du consensus; morphic resonances  abound in the ravenous burgundy costumes of street arabbers selling purple grapes, or the gothic strains of strange avant-garde organs wisping out the windows like purple haze from the chimney pipes of so many stoned and paranoid brain-skulls of our city of languishment.  And the ravenous crows congregated in so many sycamore trees in the dilapidated graveyards tucked down by the river, accessed by the train-tracks by hobos and bums and me, on a mission driven by my en-purpled darkened brain.  The crows, looking like black spots stinging the skeletal white sycamores, and speaking their hoarse caws as I walk in the abandoned quarry, the quarry where wolf dives like a manatee to search for thrown daggers, treasure, and other macabre implements of abandoned urbanity.

I was just back from a walk in these woods when my good companion M__ visited my hovel on Bentalou street, for the purpose of a tandem journey out to the oriental grocer at the rim of the town, via combustion engine.  Driving through the dense forests at the suburbs, no doubt where highwaymen are dwelling in the shade, celebrating some Ravens victory with burgundy ale, we reflected on the truly gothic spirit that comes to our town at this time of year.  Guillotines are on display like some sort of decoration, and strange violet lights are to be seen in the leaves of hollies at night.

It was upon exiting these ghastly suburbs and re-penetrating the industrial ruins which marked the spot where i live, that my companion M__ told me of the house of Monsieur P__ where his body is enshrined along with his gothic poems of fantasy.  Today and only today, said M__, will his body be on display inside the historic house.  What, said I, how macabre, it must be a simulation?  But a good simulation at that, M__ said, many have been fooled.  We must go to the historic house and find out, so we packed our oriental groceries into the coolers and headed down into the basin of our town Baltimore, to the historic district known as “Scarey”, where the historic P__ house is.

Wherein we found old scrolls and parchments of the long deceased poet.  Having read and reread no surfeit of the scriptures of darkness, I motioned to my companion M__ that we should enter the atrium and view the corpse.  Why is there no thicket of visitors besides ourselves to this historic moment?  In fact the house was empty with lack of concierge or mouse for that matter.  Perhaps they had been scared by the meaning of the moment.  Well lit for such a dark house was a perspex cube in the center of the atrium, tarnished by the smoky gray cloud-light seeping from the windowed roof above.  As we approached our steps became slower exponentially, like a field of force was pushing us away from the momentous corpse inside the perspex geometer.  After an eternity of echoing marble footsteps, we were close enough to make out the lines of the face, the sunken eyeballs, thin lips stained by a final pre-mortem slake of wine, high off-keel forehead, and dandy collar of our ancient literater.

Look at the jewel on his ring, exclaimed M__, and I bent over the plexiglass to see his hand within, and the soot-black jewel encrusted on a platinum band.  No, it can’t be, I see in this shiny piece of coal little movements, micro-movements, I think his hand is moving!  After 100 years this must be coinkidink, some draft of cool historic air moving his dusty mummy.  But no, it seems to be making methodical movements, some sort of script writing in the air, searching for a platform on which to be manifest.  The hand continues with this simple message but we have no way to interpret it.  I blurt out, after reverie, “Monsieur P__, if you can hear me through this perspex cube, then understand that you are encased by a modern substance, plastic, which we can see through.  Knowing this then, you may write your strange cypher by scratching the black gem on its inner surface for us to read retrograde”.  With a slow creak of ancient bone and a moan that seemed to come from beneath the historic house, yes, the hand moved to the inner surface of plexiglass and slowly scratched it, sonically like a dapper crow cleaning his beak on a skull.  Here is what it wrote:

“PERSPEXED ALIVE”