Monthly Archives: May 2010

Discussing the Set I.V.: a note on “TRANS DIA GETIC”

What is Trans Dia Getic?

This is going beyond the sound that arises from the action.

Cinematic Band “Myst-Sejayno” goes beyond sound, hearing through and out to the other dimensions of the event that “is happening”; from the village around the event, to the geography of the land, the psychology of the players.

Fore example, everyone remembers the LUSH/MADD piece because Seve breaks a chair to the sound of a pig being slaughtered. It is led up to by him playing a loftster with wine, trying to bang out the oriental sounds he had heard that day, at the Paris World’s Fair, 1889.

He get’s frustrated and there is a dramatic change to red lighting, he’s going “crazy”, and then he breaks the chair, like, right there on the stage.

The sample behind him is solemn drums, barking dogs, a muddy village during a pig slaughter, and faintly in the background, we can even here the asian villagers’ altercations. This is not the idealized orient or orientalism. This is an almost schizophrenic modern reality of poverty and stress.

Myst-Sejayno, a cinematic band, took this sound-vision and made “live noise” to accompany it, namely we imitated the sound of stereotypical asian villagers’ altercations backstage.

This is TRANS DIA GETIC action.
There can be more of it, led by Myst-Sejayno’s push forth into the vangaurd of “hyper sound”, IN THE MOMENT. It is the truth, or a version of it, possible in some N dimension, often led by archetypal undercurrents, that comes forth in “confessional audio”.


Discussing the Set III: Chaos as Seven

“the third master of Sejayno is Seven, Massinet Seven. We have a piece to introduce him on the side stage”

thanks to the wonderful stage-lighting of the BMA auditorium, we were able to procure a textured light on the side rostrum of the room. this textured light was specifically chosen to represent globular chaos, with analog, organic, analorganic shapes of white light. this was the rostrum onto which Seven steps to deliver his “4,5,6,7” oratorio, exactly twice

“OK, this is Massinet Seven. From early times, the number “seven” has been associated with the devil, or chaos. Superstitions! The interval of 7/5 is known as the devils-tone, or tritone; it is an irrational, bluesy note. Aestheticistic Plagiarizing Putter! This chaos is so important (Obamo “importance voice”) so important. Massinet Seven has created a piece, a dance, reflecting what is the chaos that makes up our world. Lucretius called it “TURBULENCE”, and in French that means “Tourbillons”.”

Discussing the Set II: Purple Flags in Cezanno

The 1889 Paris World’s Fair piece is a long one- about ten minutes in length, it is roughly divided up into two parts: exposition and pavillions.

A “dark lodge” intermission is a blackout of all house lights, while the audience waits in silence, while the video, very dimly, counts down from 30.

Now the piece begins: images of the Eiffel Tower in Las Vegas; and many red white and blues abound, but of course they are American RWBs, not French (an inside joke here in America). This is the Bienvenue, or welcome, to the second half of the show. After this brief introduction, it is like an invisible door opens to a hall of wonders, the exposition.

During this, there is an architectural history projection at side-stage.

On-stage, The exposition is defined by a processional dance of flags. The flags are purple because they represent what our red-white-and-blue came from, the Roman Empire.

You see, the Romans wore purple in the senate. Mix equal amounts of red and blue (perhaps white is what we added, innocence? manifest destiny? King Louis decor?) and you achieve purple. This is why the flags are purple. It is a semaphore.

Likewise, the buffalo bill semaphore is marked by shedding the flags and taunting with the poles as if they were spears. This leads to more mundane usage, such as staffing, caning, and imitating a phonograph.

There’s talk, about Kasier Permanente. No need to talk about healthcare, just examine the hermaneutics of Julius Caeser: assassinated founder of an empire, in medieval times as a sort of saint, 1889 invention of the phonograph he has become permanent, and this is what the purple nylon flags represent.

Discussing the set I: Sejayno Cezanno Epistemology

A common practice before, after, or even during a Sejayno set is to “discuss the set”. This can take the form of a shared peace pipe, a round-table discussion, or a power point art-history lecture.

During this “discussing the set”, arguments are shared about the epistemology, or “how does what we’re doing come across?”

One of the most puzzling elements of our opera, Cezanno, was how the blue house confessions were used to effect a time travel back in time to 1889, where sea is one with Skyy, at St. Remy.

There, our Carson character, Rudolph Cezanno, introduces us to this rapidly industrializing world, and at the height, or perhaps depths of the Myst-Cezanno piece, Carson is left in a shaking palsy as images of mercurial dark-waters (Nicaragua) are flashed on the video. This reflects the general mecurialization of man-kind before the descension of the arcangel michael.

But how did we get to this time? Carson, as Cezanno, says that we “traveled back through time, through 1969, to arrive on the shores of 1889”. Why did he use the date, 1969, besides the obvious rhyme with 1889?

The key is in the previous piece, “Video Confession-based Reverse Time Travel”. The three members of the Sejayno unit do an “emphatic dance piece”, with Carson in the middle, shifting gears, and Pete and Seve flanking him in riding posture, both Kima (骑马) and NASA.

During this dance piece, there is a dazzling array of video confessions, by masked characters, in an obviously thespian, psychedelic state. These video confessions are ten years old, and form the lever of the reverse time travel. In the chronological middle, the journey gets rough, as reflected by the strained movements of the dancers; this represents the middle of the 20th century.

The middle of the 20th century culminated in 1969 with many things, the moon landing, JFK assassination, and the entrenchment of Vietnamese involvement. All these things were the product of various power-lords of the world, the various generals of the world, communist and capatalist. It was a grand time for generals, with many fruitions of war activities, a busy world full of dialectic conflict.

That is why we represent this toilsome segment of the reverse time travel journey with “Vampire General”, played by Severiano Martinez. It is a video confession of a Transylvanian troglodytic attic-dweller, as he demonstrates various attack weapons, air-guitar style. This is the art of sending men to killing, the art of the general. This general is somewhat boastful, and even grand-schemed perhaps. He penetrates space.

The moon landing seemed like an act of peace, but from the beginning our involvement with space has been that of a military role. Confer with Ronald Ray-gun’s star wars program, and its “lasers in the sky, blasting your nukes out of the air”. Ironically, note that Star Wars, set in a “long ago time”, was hailed by Ray-gun as exemplary of the dialectic between US and USSR IN THE NOW. Note also that Star Trek, projected in our future gives a fully militaristic, most precisely “naval” view of space.

This is 1969’s involvement with 1889, and the now.

This is why we are discussing the set, trying to untangle the secret memings of this sophisticated piece, Cezanno, Myst reverse time travel.

Sequel to Monotooth