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.

26 October 2016


Before and after another from 1980 : 
- James Foxx, 'Metamatic' -

Metamatic is an album by John Foxx, released in 1980. 
It was his first solo album following his split with Ultravox the previous year. A departure from the mix of synthesizers and conventional instruments on Systems of Romance, his last album with the band, Metamatic included a more hard-edged electronic sound.[4] The name 'Metamatic' comes from a painting machine by kinetic artist Jean Tinguely, first exhibited at the Paris Biennial in 1959. - Wikipedia

Theatre of the Actors of Regard  
A Person Looks At A Work Of Art/
someone looks at something... 


From Wikipedia, the free encyclopedia
Meta (from the Greek preposition and prefix meta- (μητά-)
meaning "after", or "beyond") is a prefix used in English to indicate a concept which is an abstraction from another concept, used to complete or add to the latter.

Original Greek meaning

In Greek, the prefix meta- is generally less esoteric than in English; Greek meta- is equivalent to the Latin words post- or ad-. The use of the prefix in this sense occurs occasionally inscientific English terms derived from Greek. For example: the term Metatheria (the name for the clade of marsupial mammals) uses the prefix meta- merely in the sense that the Metatheriaoccur on the tree of life adjacent to the Theria (the placental mammals).

About (its own category)

In epistemology, the prefix meta- is used to mean about (its own category). For example, metadata are data about data (who has produced them, when, what format the data are in and so on). In a database, metadata are also data about data stored in a data dictionary and describe information (data) about database tables such as the table name, table owner, details about columns, – essentially describing the table. Also, metamemory in psychology means an individual's knowledge about whether or not they would remember something if they concentrated on recalling it. The modern sense of "an X about X" has given rise to concepts like "meta-cognition" (i.e. cognition about cognition), "meta-emotion" (i.e. emotion about emotion), "meta-discussion" (i.e. discussion about discussion), "meta-joke" (i.e. joke about jokes), and "metaprogramming" (i.e. writing programs that manipulate programs).[citation needed]
In a rule-based system, a metarule is a rule that governs the application of other rules.[1]

On Higher Level Of Abstraction

Any subject can be said to have a meta-theory, a theoretical consideration of its properties, such as its foundationsmethodsform and utility, on a higher level of abstraction. In linguistics, a grammar is considered as being expressed in a metalanguage, language that operates on a higher level in order to describe properties of the plain language (and not itself).
Meta is also gaining currency as an adjective, as well as a prefix, as in the work of Douglas Hofstadter.

 Cyclogravure, by Jean Tinguely, 1959
automatic (adj.) 
"self-acting, moving or acting on its own," 1812, from Greek automatos, used of the gates of Olympus and the tripods of Hephaestus (also "without apparent cause, by accident"), from autos "self" (see auto-) + matos "thinking, animated"(see automaton). Of involuntary animal or human actions, from 1748, first used in this sense by English physician and philosopher David Hartley (1705-1757). In reference to a type of firearm, from 1877; specifically of machinery that imitates human-directed action from 1940.

Laughing Woman of TAR, 1961
aboard the metamatic Cyclogravure by Jean Tinguely, 1959

Metamatic is an album by John Foxx, released in 1980. It was his first solo album following his split with Ultravox the previous year. A departure from the mix of synthesizers and conventional instruments on Systems of Romance, his last album with the band, Metamatic included a more hard-edged electronic sound.[4] The name 'Metamatic' comes from a painting machine by kinetic artist Jean Tinguely, first exhibited at the Paris Biennial in 1959. - Wikipedia

Pictured below, photograph by Paul Almasy : 
with Le Méta-matic n°17, Jean Tinguely making Méta-marks for the randomly arranged André Malraux and the Officials of TAR at L'inauguration de la Première Biennale de Paris 'QUAND L'ART DEVIENT MÉCANISÉ', 2 October 1959. 

Theatre of the Actors of Regard  
A Person Looks At A Work Of Art/
someone looks at something... 

by PT sans narrow
original performance 1952
re-released 2016

Theatre of the Actors of Regard  
A Person Looks At A Work Of Art/
someone looks at something... 


22 October 2016

Melbourne & the little bands, these years later : Lisa Gerrard, Arf Arf, Primitive Calculators, Use No Hooks

Reading Michael Dwyer's review of the Melbourne Festival concert of Melbourne's own Lisa Gerrard and Arf Arf in The Age yesterday brought back lots of c.1980 memories|ries|ries|ries|ries|ries

Lisa Gerrard ★★★★
Hamer Hall, 19 October 2017

Michael Dwyer / The Age
Lisa Gerrard's performance a revelation

The first time they came to hiss like pestilence and cackle like demons. The next time they bickered in lockstep stutters and harmonic drones. The fourth time they just stood there and bore witness to Lisa Gerrard's unearthly wail.

Arf Arf is a trio of … let's call them poets: Marisa Stirpe​, Frank Lovece​ and Michael Buckley. Part comedy, part anxiety, their scurrying invented-language chatterings were gritty relief to the immense airborne sound sculptures that ultimately silenced them.


photo: Carbie Warbie  
It was an unfair fight from the leading lady's grand entrance, swathed in voluminous bolts of regal cloth that hung deathly still from her perfectly poised frame.

Her musicians were attired as medieval courtesans, or maybe angels, offering cello, bamboo flute, congas and keys to the sonic cathedral where the high priestess channelled her message of love.

Yep, channelled. "Singing" doesn't describe the way Gerrard commands the air to behave, rumbling from the deep and soaring to astonishing contralto highs, ringing in endless caverns of reverb, somehow more revelation than invention.

As always she spoke almost exclusively in tongues to disarm logical thought; in her own words to "defy the prisons of judgment and academia". So we surrendered, as cascades of glorious, unthinkable melody took flight in mystical middle-eastern swirls and trance rhythms and lofty operatics suddenly cut with playful soul and gospel asides.

Sleep came at last in words we could literally understand: the earth mother's sublime murmur of comfort in a bickering and stuttering world. Funnily enough, we'd been feeling that all along.
By 1980 Lisa Gerrard was an already charismatic regular performer at the little bands nights around Melbourne. 

Sometimes she held our focus solo, accompanying herself with a dulcimer or accordion; other times, we remember her performances with fellow high stylist Lee Smith (RIP) on thrash guitar, together as Junk Logic as listed in the poster paste-up below

click image to enlarge  
Another from around then.

Michael Buckley, Marcus Bergner, Marisa Stirpe​ and Frank Lovece​ formed Arf Arf in 1985. 

All were part of the little bands scene from the start. Michael and Marcus in Too Fat To Fit Through The Door, Marisa in Thrush and the Cunts, and Frank in Primitive Calculators.

In 1978, members of Primitive Calculators, an experimental post-punk group from Melbourne, formed a short-lived side band, the Leapfrogs. Using it as their own opening act, Primitive Calculators decided to form other "little bands" with friends, including members of Whirlywirld, who lived next door to the group in Fitzroy North, with rehearsal spaces in each house.[4] By sharing their equipment with the little bands, it made it easier to practice and set up for each gig. Soon they started staging "Little Band nights" at various inner city venues, and at first, rules were strictly imposed: no little band was allowed to play more than twice and could have no more than fifteen minutes worth of material.[1] According to Primitive Calculators frontman Stuart Grant, it was "the punk ethos of disposability, novelty and working against the grain of the standard modes of procedure in the music business."[5] Many of the little bands were composed of non-musicians who enjoyed the opportunity to realise their naive musical ideas. - Wikipedia
When Primitive Calculators played their break-up gig at The Seaview in 1981, they shared it with another of the little band cores Use No Hooks.

No poster for that, but here's one for the Equal Local debut, with Use No Hooks again in support.
(Dean Richards and Philip Jackson formed Equal Local video here after their departure from Whirlywirld in 1979.)

Primitive Calculators returned at The Tote in 2009 after 29 years. (here)

 Always there : Alan Bamford, participant, advocate and key 
 archivist of the Melbourne little bands scene
Tomorrow night at the Belleville in cbd Melbourne, the founding duo of Use No Hooks, Mick Earls and Arne Hanna will return as Use No Hooks after 32 years.

 Arne and Mick c.1981  
 A Person Looks At A Work Of Art/
 someone looks at something...


19 October 2016

Theatre of the Advertisements of Regard

 Image: Claire Lambe, Untitled production still 2016
 courtesy the artist and Sarah Scout Presents

 Theatre of the Advertisements of Regard   

 A Person Looks At A Work Of Art/
 someone looks at something... 
We are delighted to invite you to:
Friday 18 November 2016
from 7pm – 11pm

Book now »
Hosted by Andrew Taylor & Rachel Griffiths
The Inaugural ACCA Party will unfold with new artistic works, unexpected encounters, performances, choreography, announcements and events. Join our luminous community of artists, friends and supporters for a night of celebration, discovery and merry-making. Grace us with your illustrious presence. Join us to champion new art and bold ideas. 
KC Studios
2 Chelmsford Street
$230 per person or 
$200 per person for groups of 10 
Tickets are limited.
For all enquiries, 
please contact Grace Davenport 
gdavenport@accaonline.org.au (03) 9697 9914

Theatre of the Advertisements of Regard (#2)

   The QAGOMA Foundation invites you and your guests to  


Wednesday 19 October
6.00 – 8.00pm 

Queensland Art Gallery
Stanley Place, Cultural Precinct
South Bank, Brisbane

Join us for the second annual ‘project pitch’, a lively contest between QAGOMA Curatorial and Learning and Public Engagement teams who will each offer a special project with the aim of securing the Future Collective’s support in 2016. 

Members and guests will be presented a series of exciting options at the Queensland Art Gallery and enjoy a rare behind the scenes tour of the Gallery’s temporary collection storage area

Voting and refreshments will follow in the Sculpture Courtyard. 

Tickets $40.00 (GST incl.)

Theatre of the Advertisements of Regard  
 A Person Looks At A Work Of Art/
 someone looks at something... 

18 October 2016

regarding THINK

 THINK/SCULPTURE a small survey of works by John Barbour (1954-2011) brings together a series of interconnected ensemble pieces completed between the mid 1990s and 2011.

The exhibition title combines two signature pieces - a large painting from 1990 with the word THINK lettered boldly in black from edge to edge on a white painted ground, and a floor and wall based installation, 'The lost routes to lovely' from 2001 - a series of what appear to be black metallic rods, rectangular beams and angled structures... broken forms and leaning shapes that could well be parts of the letters that make up the word THINK.

Appearance is deceptive: despite their steely strength, the dismembered forms are merely painted cardboard structures, taped and glued together. In this particular arrangement the command to 'Think' is undermined by its deconstruction: the power of one word tempered by a certain temporal fragility... 
the artist's use of hard-edge lettering and cardboard a way of encapsulating the uncertainties associated with meaning and what we think words say.

Ewen Mcdonald
September 2016

Suite 1.01 Eastern Exchange
318 Liverpool Street
Darlinghurst NSW 2010

6 October - 5 November 2016

tel +61 2 9332 1590

gallery hours
Wednesday to Friday 11–6 pm
Saturday 11-4.30

.  .  .  .

1988_1st April_Thought for the day_THINK_John Barbour

FIAPCE gift to AGSA  
.  .  .  .

scroll : the term "think"  
by 燕京女史
by Yanjing Ms. (Google translate)
by Yanjing History of Women (Google translate)

by Theatre of the Animators of Regard

collection : FIAPCE  
 A Person Looks At A Work Of Art/
 someone looks at something... 

17 October 2016

Theatre of the Animals of Regard : Why Listen to Animals?

This experimental project by Liquid Architecture reframes English writer and artist John Berger’s classic 1980 essay Why Look at Animals? through the prism of sound and listening. We gather together artists, musicians, scientists and historians to investigate human-animal sound via the dynamics of power, knowledge and value in the pursuit of a new question : Why Listen to Animals?

In partnership with West Space, Melbourne Fringe Festival, Naturestrip, Australian Indigenous Studies Program at the University of Melbourne

Supported by City of Melbourne

artists :

Eric Avery, Eugene Brockmuller, Alex Cahill, Catherine Clover and Peter Knight, Melissa Deerson with Georgina Criddle, Will Foster and Sabrina D’Angelo, Tamsen Hopkinson, John Jenkin, Max Kohane, Nicholas Kuceli, Tessa Laird, Bunna Lawrie, Camila Marambio, Anthony Magen, Joel Maripil, Sally Ann McIntyre, Louis Kennedy, Miranda Liebscher, Julia McFarlane, Jake Moore, Lynn Mowson and Bruce Mowson, Bryan Phillips, Jack Prendergast, Kim Satchell, Undine Sellbach & Stephen Loo, Rob Thorne, James Utting-webb and Riley Lockett, Cecilia Vicuña, John-Joe Wilson.
schedule : look at / listen to CLICK

FIAPCE   -1976-  
Theatre of the Animals of Regard  
 A Person Looks At A Work Of Art/
 someone looks at something... 

16 October 2016

Theatre of the Abattoirs of Regard

To express one's disgust 
        toward another person, 
                toward Donald Trump say, 
or one's disgust
        toward another section of human persons, 
                toward women say ,
by further denigrating 
        yet another group
                of our fellow sentient beings :
        what's with that, 

Theatre of the Abattoir of Regard : 

(he is) a disgusting pig
(she is) Miss Piggy
(he is) an animal
(he is) a dog
(she is my) bitch
(her) pussy
(he is) a f***ing  monkey
(he is) a slug
(he is) an orange slug
(he is) a revolting slug :
TAR : NSW Parliament Officially Calls Donald Trump 'Revolting Slug' : Hansard

That this House:
(a) condemns the misogynistic, hateful comments made by the Republican candidate for President of the United States of America, Mr Donald Trump, about women and minorities, including the remarks revealed over the weekend that clearly describe sexual assault;
(b) reflects on the divisive, destructive impact that hate speech from political candidates and members of elected office has on our community; and
(c) agrees with those who have described Mr Trump as "a revolting slug" unfit for public office.
Theatre of the Abattoir of Regard : 

Theatre of the Abattoir of Regard  
 A Person Looks At A Work Of Art/
 someone looks at something... 
 Post Script : on cue... 

12 October 2016

Pierre and The Breakers ('Kill the Father!')


Paterson (interior intergenerational dialog)
Pater (father) & Son (son of the father) :
"Sell Blue Poles to reduce the Budget debt."

Senator Paterson : maiden speech 
Theatre of the Accountants of Regard
at the 1850-51 Paris Salon, by CHAM/Le Charivari

Theatre of the Actors of Regard 
 A Person Looks At A Work Of Art/
 someone looks at something... 
Father & Son regard Les Casseurs de pierres
(The Stone Breakers) by Courbet.
Son : "Pourquoi donc, papa, qu'on appelle ça de la peinture socialiste?" ("Father, why do we call that a socialist painting?")
Father : "Parbleu : parce qu'au lieu d'être de la peinture riche, c'est de la pauvre peinture!" ("Crikey!  Because instead of it being a rich painting, it's a poor painting.")

The meta-Breakers

The Stone Breakers (French: Les Casseurs de pierres) was an 1849–50 painting by the French painter Gustave Courbet. It was a work of social realism, depicting two peasants, a young man and an old man, breaking rocks. The painting was first exhibited at the Paris Salon of 1850. 
centre : Les Casseurs de pierres / The Stone Breakers  
It was destroyed during World War II, along with 154 other pictures, when a transport vehicle moving the pictures to the castle of Königstein, near Dresden, was bombed by Allied forces in February 1945.  
- Wikipedia
and upon this rock
I will break
it all
 A Person Looks At A Work Of Art/
 someone looks at something...