David Jones, artist and poet (1895-1974) begins his PREFACE TO THE ANATHEMATA :

'I have made a heap of all that I could find.' (1) So wrote Nennius, or whoever composed the introductory matter to Historia Brittonum. He speaks of an 'inward wound' which was caused by the fear that certain things dear to him 'should be like smoke dissipated'. Further, he says, 'not trusting my own learning, which is none at all, but partly from writings and monuments of the ancient inhabitants of Britain, partly from the annals of the Romans and the chronicles of the sacred fathers, Isidore, Hieronymous, Prosper, Eusebius and from the histories of the Scots and Saxons although our enemies . . . I have lispingly put together this . . . about past transactions, that [this material] might not be trodden under foot'. (2)

(1) The actual words are coacervavi omne quod inveni, and occur in Prologue 2 to the Historia.
(2) Quoted from the translation of Prologue 1. See The Works of Gildas and Nennius, J.A.Giles, London 1841.


06 March 2015

LOGOS/HA HA in the bully pulpit : PARLIAMENT with FILTER MOUTHPIECE

                 
Parliament of Australia 
House of Representatives 
Motion : 
Attorney General - Attempted Censure

Hansard, page 59 -
25 February 2015

Bill Shorten (Maribyrnong, Australian Labor Party, Leader of the Opposition)

I seek leave to move:

That the House censures the Attorney-General:

(1)for launching an unprecedented attack on the Australian Human Rights Commission designed to undermine its independence;

(2)for treating an independent statutory office holder with contempt; and

(3)for directing the Secretary of the Department of Attorney-General to offer an inducement to the President of the Australian Human Rights Commission in return for her resignation.

Leave not granted.

I move:

That so much of the standing and sessional orders be suspended as would prevent the Leader of the Opposition from moving the following motion forthwith:

That the House censures the Attorney-General:

(1)for launching an unprecedented attack on the Australian Human Rights Commission designed to undermine its independence;

(2)for treating an independent statutory office holder with contempt; and

(3)for directing the Secretary of the Department of Attorney-General to offer an inducement to the President of the Australian Human Rights Commission in return for her resignation.

Prime Minister of Australia, lying is not insider nonsense. It is proof that the Attorney-General and his government have failed the test of leadership. Yesterday you plumbed a new depth in using the power of the executive branch—


Tony Abbott (Warringah, Liberal Party, Prime Minister)

Madam Speaker, this is a suspension motion. It is not a censure motion, and it is not permitted under the standing orders to accuse people of lying.

Mrs Bronwyn Bishop (Speaker)
The Leader of the Opposition has the call, and the point the Prime Minister makes is true. Address your marks to the censure motion and desist from unparliamentary language. In fact, withdraw.

Honourable members interjecting

Bill Shorten (Maribyrnong, Australian Labor Party, Leader of the Opposition)

Yesterday and today we have seen a shocking attack by the most powerful man in Australia upon the president—

Mrs Bronwyn Bishop (Speaker)

I will have silence. The Leader of the Opposition will resume his seat.

Tony Abbott (Warringah, Liberal Party, Prime Minister)

Madam Speaker, he has used an unparliamentary term, and he should withdraw it.

Mrs Bronwyn Bishop (Speaker)
 
I ask the honourable Leader of the Opposition to withdraw.

Bill Shorten (Maribyrnong, Australian Labor Party, Leader of the Opposition)

I withdraw.

Yesterday and today we have seen the Attorney-General and the rest of his government reach a new and shocking low. When people like the Attorney-General or the Prime Minister of Australia, with all of the power of government, use their positions to bully and intimidate independent statutory office holders then we should suspend standing orders to discuss this matter. The actions yesterday—and as much as the Prime Minister and Attorney-General want to say it is not the real issue—when powerful men in remarkable positions of strength use their authority not to lead the nation but to attack critics then we have a severe problem with the strength of our community and our government in this country.

I understand that the Prime Minister, the Attorney-General and members of the government may not approve of the President of the Human Rights Commission's report, but what I do not understand is that, rather than dealing with the issues in the report, what they have done is attack her character. They have attacked her character. What we also saw yesterday was the embarrassing and scandalous situation where the President of the Human Rights Commission was forced to sit two people down from the Attorney-General, a target as the Attorney-General turned on her and attacked her. Then we saw she had to put up with the assassination of her character by the Attorney-General and by this man. We have seen an assassination of character. This is the tool in trade. I believe Australians are sick and tired of an angry Tony Abbott. I believe Australians are sick and tired of the constant overreach of the Prime Minister of Australia.

Being Prime Minister of Australia is a remarkable privilege. It is a bully pulpit to be able to advocate ideas.

Mrs Bronwyn Bishop (Speaker)
   
I would remind the Leader of the Opposition that this is a suspension motion.

Bill Shorten (Maribyrnong, Australian Labor Party, Leader of the Opposition)
       
Yes. But what we mean is, whilst it is a bully pulpit, it is not a pulpit for bullies, and that is what we are seeing with this government. We should suspend standing orders because what we have seen with this attack on the President of the Human Rights Commission is a new low by the most powerful man in Australia against an upright, proper and decent woman. We have seen in this attack by the Prime Minister the classic overreach of the angry Prime Minister. He says that he does not like what she has written, so therefore she must resign.

We have seen word games played by this government. When is a resignation not a resignation? When Tony Abbott and George Brandis ask for it. When is an inducement not an inducement? When these ministers and the Attorney-General offer it. The President of the Human Rights Commission understood perfectly well what was happening when the secretary of the department came along and said, 'I'm sorry to tell you this, but the Attorney-General's lost confidence in you; the government's lost confidence in you.' You cannot sack this statutory office holder. There is a clear implication if you say to this independent statutory office holder, 'the government has lost confidence in you, but you cannot be sacked'; there is only one course of action being asked for by these powerful people—the Attorney-General and his leader, the Prime Minister—it is clearly putting pressure on her to resign.

Then we hear about the embarrassing spectacle that no job was offered. Today the foreign minister gave a strong and appropriate defence of the Secretary of the Attorney-General's Department. She certainly defends the secretary of the department; she said he is a very truthful person. We agree. We think he is a truthful person. What we do not believe is that we are hearing the truth from the Attorney-General or from this Prime Minister.

You can just see the decision-making in the inner sanctum of this government—at least the bits that we have not seen already leaked. They would have sat around and said: 'We want this woman gone. We want her out of the position.' That is what they would have said. You can see them saying: 'George, send a messenger to get rid of the messenger. Send her the message that we no longer have confidence but if she does the right thing and fits in with the agenda of this government we will find her a job somewhere else.' Unfortunately for this government and its bullying ways, the President of the Australian Human Rights Commission was not playing ball.

Prime Minister, I think you underestimate many Australians when you dismiss this matter as an 'insider issue'. I think there are a lot of Australians who have been appalled by your conduct and your character assassination of this President of the Australian Human Rights Commission. I think you have reminded a lot of Australians what they deep-down feel about you, that you are a—

Mrs Bronwyn Bishop (Speaker)

I would remind the Leader of the Opposition that this is a suspension motion.

Bill Shorten (Maribyrnong, Australian Labor Party, Leader of the Opposition)

It is a suspension of standing orders motion. Thank you, Madam Speaker.

Mrs Bronwyn Bishop (Speaker)

Then kindly refer to it.

Bill Shorten (Maribyrnong, Australian Labor Party, Leader of the Opposition)

It is important to suspend standing orders because Australia has been reminded of the character of this Prime Minister and of this Attorney-General. Never could we have imagined such a scenario. I know there are good members of the government—perhaps not those who are yelling out—who are deeply uneasy at this open attack on an independent statutory office holder.

I congratulate the member for Wentworth, who has come out and been supportive of Gillian Triggs. I also acknowledge that the foreign minister seems to have some quiet confidence in Gillian Triggs. And I know there are more of you out there—probably even more than supported the spill motion. This is why we have to support the suspension of standing orders motion.

No government minister should be proud of the last 48 hours. No government minister should be proud of the absolute plumbing of the depths and this attack on this respected, independent person. What is it about the Abbott government and the Attorney-General that they do not understand the separation of powers? What is it about this government that, when the President of the Australian Human Rights Commission comes down with a report that the government does not like, all of a sudden the independent office holder must go?

Please, members of the government, Attorney-General and Prime Minister, do not treat Australians as mugs and say: 'No resignation was sought and no alternative job was offered'. We can play the word games, Mr Prime Minister. You can talk about how 'no inducement was given'. Your messenger said to the President of the Human Rights Commission, 'the government no longer has confidence in you'—there you go, character assassinating again.

But they knew they could not sack this office holder, so the clear implication of saying to Gillian Triggs, 'The government has no confidence in you,' is 'You must resign'. That is the clear implication. Then, they said: 'We will look after you. We will find you a special role.' Now the government has said today in parliament, 'There was no special role offered'. Yet, yesterday, the Secretary of the Attorney-General's Department said there was a role offered.

The foreign minister was left to hang out a bit today when she said, 'no special role was offered'. Yet it was in Hansard yesterday that the secretary of the department said there was. Someone is not telling the truth here, and I believe it starts with the Attorney-General and it starts with the Prime Minister.

What the government needs to understand is that, rather than shooting the messenger as they are doing here, they should be taking heed of the message. I believe that many Australians, be they Liberal or Labor supporters, or any other party, they have— (Time expired)

Mrs Bronwyn Bishop (Speaker)

Is the motion seconded?

Mark Dreyfus (Isaacs, Australian Labor Party, Shadow Attorney General)

I second the motion and reserve my right to speak.

Christopher Pyne (Sturt, Liberal Party, Leader of the House)

The government will not be supporting a suspension of standing orders from the Leader of the Opposition, because the Australian people expect us to get on with the job of good government in this country. That is what the Australian people expect us to do in this place. They do not expect us to get down in the chum bucket—

Ms Butler interjecting

Mrs Bronwyn Bishop (Speaker) 
   
The member for Griffith will desist and is warned.

Christopher Pyne (Sturt, Liberal Party, Leader of the House)

We are not going to hop into the chum bucket with 'Beltway Bill'—
       
and so on...         
   
unaltered advertisement  
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05 March 2015

Image conscious :

   
figure floating in pictorial space

as seen by

         

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(2)  figure floating in pictorial space

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04 March 2015

Image conscious ] I AM AFRAID (


iconophobia : 

fear of images
fear of images on book covers
fear of images on book covers on blogs...

theoriconophobia : 

fear of looking at images
fear of looking at images on book covers
fear of looking at images on book covers on blogs...

metatheoriconophobia : 

fear of awareness of looking at images
fear of awareness of looking at images on book covers
fear of awareness of looking at images on book covers on blogs...
     
 I AM AFRAID : Catholicism and Fear.
 by Dr. J. Catarinich.
 Australian CATHOLIC TRUTH SOCIETY No. 1060 (1948)

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03 March 2015

Image conscious (2)


Following yesterday's desperate speech bubble...
             
...this morning's emails brought this film screening announcement from West Space, Melbourne :
              

Living Museum of the West Film Screening Part 1:

Join us for the screening of two films: Dial H-I-S-T-O-R-Y and In Comparison, with a short film from the Living Museum archive, at the Living Museum of the West. 

SUNDAY 15 MARCH, 2015. 2-5PM


2:00pm
Dial H-I-S-T-O-R-Y  - Johan Grimonprez
Belguim, 1997, colour, 68 min.
Programmed by Jessie Scott.

Buckle-up for Dial H-I-S-T-O-R-Y, the acclaimed hijacking documentary that eerily foreshadowed 9-11.We meet the romantic skyjackers who fought their revolutions and won air time on the passenger planes of the 1960's. By the 1990s, such characters are apperently no more, replaced on our TV screens by stories of state-sponsored suitcase bombs. Director Johan Grimonprez investigates the politics behind this change, at the same time unwrapping our own complicity in the urge for ultimate disaster. Playing on Don DeLillo's riff in the novel MAO II, What terrorist gain, novelists lose and The home is a failed idea, he blends archive hijackings with sureal and banal themes of junk food, pet statistics, disco and his quirky home movies. David Shea wrote that the suberb soundtrack to film's rollercoaster through history, best described in the words of one hijacked Pepsi executive as: “running the gamut of many emotions: from surprise to shock, to fear, to joy, to laughter and then again, fear.”

Dial H-I-S-T-O-R-Y addresses the mass media manipulation by, and complicity with terrorism. The gratuitous facilitation of ISIS' grotesque, sophisticated, layered propaganda across all forms of media, with its call backs to Abu Graib and Guantanamo and deployment of seductive, radical and pop-culture iconographic such as the black flag, are verily admired by the media (recognising their own offspring), but remain largely uncritiqued as media objects, by artists or others. Grimonprez's Dial H-I-S-T-O-R-Y deploys that old chestnut: using the medium to critique the medium. Have we in fact lost the ability to do this: as our use of media, video in particular, becomes more ubiquitous and sophisticated, has our ability to see it diminished?

3:30pm
Screening of Go West Yound Women1986, taken from the Living Museum  of the West archive. With interviews with director and cast the film documents the opening of a local musical that described the story of women working in the munitions industry. Programmed by Kerrie Poliness.

4:00pm
In Comparison – Harun Farocki
Germany, 2009, (DVD-R of) 16mm, color, 61 min

Programed by Nic Tammens.

“I wanted to make a film [In Comparison] about concomitance and contemporary production on a range of different technical levels. So I looked for an object that had not changed too much in the past few thousand years. This could have been a shoe or a knife, but a brick becomes part of a building and therefore part of our environment. So the brick appears as something of a poetic object. I follow its mode of creation and use in Africa, India, and Europe."[1]

When a film abstains from being didactic, to introduce it with wordy convictions puts one at risk of saying too much.

In lieu of this, we might prepare by thinking: what is an image? what is society? what is the relationship between film and society? what is an institution? what is the relationship between the social and environment? what is the nature of work? and what is human within any of this?

Harun Farocki (1944-2014) was born in what was German Czechoslovakia during WWII. His beginnings as a filmmaker is marked by his expulsion from the German Film and Television Academy in 1969 when Farocki and fellow classmate Hartmut Bitomsky were ejected on the grounds of their political activism. Farocki supported himself by working for the West German television service and as a film critic, serving as the editor for FilmKritik from 1974 to 1984. In addition to making over 120 films he produced work for the purpose of exhibition in museums and galleries where his work has been extensively exhibited internationally.

Location: The Living Museum of the West is located at Pipemakers Park, Van Ness Avenue, Maribyrnong. Melway Map 28 B10.


Theatre of the Actors of Regard   
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02 March 2015

Image conscious

     
Another great image by the great Bruce Petty.   

Prime Minister Tony Abbott, leader...
      

The Age / Sydney Morning Herald  
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01 March 2015

Read All About It : MEDIA BREAKTHROUGH


A few days ago we visited the scene below.
     

Theatre of the Actors of Regard  
Being both meta- minded and keen appreciators of the disruptive French 'breakthrough' play, when we at bLOGOS/HA HA attend 'Waiting for The Times', we cannot but imagine the unseen reader there suddenly breaking through that 'fourth wall' to confront us.

Here are a few such instances, from Emile Zola's famous 13 January 1898 open letter J'accuse...! published on the front page of L'Aurore... to the 7 January 2015 shootings at the Paris offices of Charlie Hebdo :

13 January 1898, J'accuse...! 
     - wikipedia entry here


           
1900 - : the new century opens with breakthrough à la mode at The Times/Le Temps, La Libre Parole, La Liberté, Le Figaro, L'Autorité, L'Intransigeant, Le TAR, Le Grand National...
      
      
1901 - : Égalité and constant popular revolution.
Let's everyone practise the media breakthrough ...


as the meta- gets even better :
          

            
27 November 1960, Dimanche :
Yves Kline takes the newspaper breakthrough to a new level with his Leap into the Void presented to the world on the front page of his one-day Paris paper, Dimanche.
          


1978 : the tradition continues with the Reiser
cover of The Best Covers of Charlie Hebdo :
        

       
1978 : madder, meta-, other : a second collection of 1407 Charlie Hebdo covers we'd previously been spared. Cabu respects the breakthrough tradition, too.



Now the TAR are behind. So, back cover, rear view.


   
7 January 2015 : Cabu and other Charlie Hebdo personel are shot dead by Islamic extremists. This 'breakthrough' picture on the cover of Les Echos :
         

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26 February 2015

Actually, for purposes of activation...


Act One : 
Hal Foster : Lecture, Melbourne University today
       
2015 Dean's Lecture Series
'In praise of actuality: Questioning Art as a Process'
Why is process, like performance, so readily embraced by artists today? One reason is that it is said to activate the viewer, the assumption being that to leave an artwork undone is to prompt us to complete it.  And yet this attitude can easily become an excuse not to execute a work fully. A work that appears unfinished hardly ensures that the viewer will be engaged; indifference is as likely a result, perhaps a more likely one.

In this lecture, internationally-renowned art critic Hal Foster argues that such informality tends to discourage sustained attention, both aesthetic and critical.  We are likely to pass over the work quickly, he claims, because its maker seems to have done the same prior to us, or because quick effect seems to be what was intended in the first place.  He also challenges two further assumptions. The first is that the viewer is somehow passive to begin with, which need not be the case at all, and the second is that a finished work in the traditional sense cannot activate the viewer as effectively, which is also false.

For purposes of activation and attention, Foster argues, give us a Piet Mondrian over a George Maciunas any day!

Professor Hal Foster is Townsend Martin Class of 1917 Professor of Art and Archaeology at Princeton University and a coeditor of the journal October. Author of The Return of the Real: The Avant-Garde at the End of the Century (MIT Press, 1996) and Design and Crime (and Other Diatribes) (Verso, 2002/2011), he recently published The Art-Architecture Complex (Verso, 2011) and The First Pop Age: Painting and Subjectivity in the Art of Hamilton, Lichtenstein, Warhol, Richter, and Ruscha (Princeton University Press, 2012). His new book Bad New Days: Art, Criticism, Emergency is due out from Verso in fall 2015.
When:Thursday, 26 February 2015 | 6:30 - 7:30pm

Theatre of the Actors of Regard  
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LOGOS/HA HA
      
     
Act Two :
Yves Klein : dimanche, 27 November 1960
The Diary of a Single Day
The Blue Revolution Continues

ACTUALITÉ

As part of the theatrical presentations of the Festival of Avant-garde Art in November-December 1960, I have decided to present the ultimate form of collective theatre : a dimanche for everybody.

I did not wish to limit myself to an afternoon or evening performance.


On dimanche (Sunday), 27 November 1960, from midnight to midnight, I thus present a full day of festival, a true spectacle of the Void, as a culminating point of my theories. However, any other day of the week could have been used.


I wish that on this day joy and wonder will reign, that no one will get stage fright, and that everyone, conscious as well as unconscious actors-spectators of this gigantesque presentation, should have a good day. 


That everyone will come and go, move about, or remain still. 


Everything I write in this diary today precedes the presentation of this historic day for the theater.


The theatre should be or at least rapidly attempt to become the pleasure of being, of living, of spending wondrous moments, and with each passing day of better understanding the beauty of each moment.


Everything I write in this dairy represents my own steps towards this glorious day of realism and truth: the field of operations of my proposed conception of theatre is not only the city, Paris, but also the countryside, the desert, the mountains, even the sky, and even the entire universe. Why not? 


I know that everything inevitably is going to work out very well for everyone, spectators, actors, stagehands, directors, et al.


I would like to thank Mr. Jacques Polieri, the director of the Avant-garde Festival, for his enthusiasm and for proposing to me that I present this “dimanche, November 27.”

Yves Klein
   

Dimanche on sale at a Paris news-stand  
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LOGOS/HA HA
        
 
Act Three : 
bLOGOS/HA HA : Theatre of the Actors of Regard
Actually...





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25 February 2015

The Times they are a-changin'


Tired of watching others read The Times while you wait and wait and wait your turn? 

Why not have your Gentleman's Club install wifi, then catch up on bLOGOS/HA HA while you wait.
   
This 1831 performance of 'Waiting for The Times' for Theatre of the Actors of Regard long precedes the artlife of Gilbert & George. It is recorded here by the artist Benjamin Robert Haydon*. 
 

Theatre of the Actors of Regard  
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*You might recall the impecunious and constantly unhappy Haydon in the film 'Mr Turner'. In one scene, we saw him upset that his 'A Sicilian Ass' has been installed in the back room of the Royal Academy. The following sequence extracts are from Mike Leigh's screenplay here :

In the ante-room we are looking at a painting of a donkey. 

PICKERSGILL : Can you explain your rendition? 
HAYDON : It needs no explanation, sir. ‘Tis our Redeemer’s conveyance into Jerusalem, plain as day. 
PICKERSGILL : Blasphemy! 
(Turner has returned.)
TURNER: You faring well, Mr. Haydon? 
HAYDON : This will be the finish of me! (He storms out.)
TURNER : Fifty pounds! 

Turner shakes his head, and shares the moment with Soane, who is adjacent. 
Haydon marches into the main gallery. He goes up to Leslie, who is standing with Eastlake and Callcott...

PICKERSGILL : Haydon, can I point out that I too hang in the inferior chamber?
HAYDON : I care not for your work, sir. I care not a fig.
PICKERSGILL : At least my work does not represent self-portrait as ass. 

SHEE : Mr. Pickersgill...! 
HAYDON Give me those... 
(Haydon knocks Pickersgill’s hat off. A general struggle ensues.)
HAYDON : Unhand me!
SHEE : Remove this man!
HAYDON (shouting) : You swines! You swines! 


Turner quietly leaves the gallery.

       

24 February 2015

regarding Mr. Turner

 
Sunday night at The Rex.
Three old artists sitting in a row 
for Mike Leigh 
Mr T
and Theatre of the Actors of Regard.
       

   
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Demonstration Day at the Royal Academy.
Three old artists standing in a row
for Charles West Cope 
Mr T
and Theatre of the Actors of Regard.
   

Joseph Mallord William Turner by Charles West Cope
oil on card, circa 1828
National Portrait Galley, London

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23 February 2015

P

   

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