NO15 VOL. V
WINTER 2013
WATERCOLORS BY ALEXANDER HARDER.
NO15 VOL. V
TABLE OF CONTENTS
15 THINGS WE LIKE
4
WHERE WE WERE
6
MUSIC VIDEOS: THE IGNORED ART FORM
10
IN GOOD HEALTH
14
NO WAVE
18
SUPERCUTE
20
GALLERY
30
SUPERSONIC DESCENT
40
HOW TO TRANSCEND
42
LOSING YOU FOR GOOD
44
DEBATE: ANIMAL OR MACHINE
56
BITCHY BINGO
60
FLESH CPU
68
REVOLTING BODIES
70
EXPERIENCING REALMS OF DEATH IN CINEMA
72
SERAFIMA
74
TRA DI NOI
82
BASEMENT THEORY
90
FASHION ROUND-UP
106
STAFF
111
LETTER FROM THE EDITOR
I’m very pleased to present our “Transcendent”
issue. Our passion is reflected in our pages.
Kevin Nguyen Editor-In-Chief
15 LIFE OF PI Ang Lee
STARDUST MEMORIES Woody Allen
SAMSARA Ron Fricke
“LOSING YOU” Solange
An Awesome Wave Alt-J
LETTERS TO A YOUNG POET Rainer Maria Rilke
ONE HUNDRED YEARS OF SOLITUDE Gabriel García Márquez
ZERO DARK THIRTY Kathryn Bigelow
LA JETÉE Chris Marker
“DISINTIGRATION” Monarchy feat. Dita Von Teese
“THE ROAD” Hurts
COSMIC ANGEL: THE ILLUMINATI PRINCE/SS Mykki Blanco
BESTIAL TRACES Christopher Peterson
VALLEY OF THE DOLLS JACQUELINE SUSANN
HARD-BOILED WONDERLAND AND THE END OF THE WORLD Haruki Murakami
WHERE WE WERE PHOTOS BY MARTA GIACCONE AND KEVIN FUHRMANN
LOUISE GRAY
Spring/Summer 2013 London
ROBERTO MUSSO
8
Spring/Summer 2013 Milan
BASHARATYAN
Spring/Summer 2013 Milan
MUSIC VIDEOS: THE IGNORED ART FORM BY SHANE KONNO
Dust clouds are thrust into the air as the heavy hooves of a white steed trample the bare, dry desert landscape. Upon the horse a mysterious cloaked figure covered in burlap rags, beads and branches, raises its bow and arrow. Fleeing this unexplainable hunter is a ragged man in a foreign cloak of his own. Just before the horseman’s arrow can take him down, the mysterious man escapes through a billowing cloud of grey smoke. This surreal scene is not from sci-fi film or a fantasy novel. It is from a music video for the song “True Loves” by Hooray for Earth, created by visionary music video filmmakers Young Replicant. For them, music videos are an opportunity to create epic short musical films. Elevating the often-underappreciated genre of music video art, their films are undeniably impressive in a cinematic sense. Despite the medium’s potential to meld the mediums of music and film, the genre as a whole is devalued and often ignored. Its low status can easily be attributed to the glamour and extravagance of MTV. The music video heyday at the turn of the 20th century brought the boom of MTV’s “Total Request Live.” Carson Daly was king and America’s youth were his loyal subjects. After a few years of bliss, our nation ended its obsessive love affair with the music video, and the genre was tossed in the back seat. Disregarded as an art form, music videos have been generalized as flashy, over-produced, and aimed at mass-consumption. Total Request Live unfortunately brought these lowbrow productions to the forefront of the music video realm. Ushering in a new era for the music video, the digital age has brought us a new generation of filmmakers working in music video production. These directors do not simply focus on highlighting the singer’s sex appeal or depicting the glitz of their Hollywood highlife, these artists employ filmic tactics to weave together music and image. The medium of the music video lends itself to their innovative processes. Music films do not exist within our reality, making the music video a surrealist experience. Like that of movie musicals, the world of music films is apart from our own. This caveat gives directors permission to blur the line dividing real and fantasy, or to delve completely into a surreal realm. The nature of this medium allows filmmakers to explore and experiment with the medium of film and present images in the most visually rich fashion. Previously mentioned music video makers Young Replicant spoke with NO15 about their craft, providing insight into their filmmaking process. The duo of Joe Nankin and Alex Takacs give us a glimpse into the mysterious worlds of their music videos. These lifelong friends are only 22, but create, produce, and direct their own films. With the assistance of changing collaborators, Young Replicant have created 7 music videos since they began in 2008. After winning a YouTube contest to create the music video from M83’s “We Own the Sky,” the duo continued making music videos and exploring the fantastical worlds they could create within them. Their beautiful music videos have caught the attention of many in the video art world. Vimeo has highlighted two of their latest music videos, for Purity Ring’s “Fineshrines” and most recently the XX’s “Chained.” Nankin and Takacs create visually stunning works with mysterious narratives in indefinite settings. This ambiguity is achieved by vast amounts of unidentifiable landscapes, figures, and symbols. By avoiding the explic-
NOISE
From “Fineshrines” by Purity Ring.
From “True Loves” by Hooray For Earth .
From “Fireshrines” by Purity Ring.
From “Fireshrines” by Purity Ring.
it, Young Replicant charges the viewer with the duty of interpretation. develop intricate and mysterious worlds, where flowers sprout from fresh corpses and rocks not only levitate, but glow too. When asked where their surreal music videos take place, they joke that its anywhere but LA. With this simple aim, they build and populate lands similar to Earth’s in many aspects. But it incorporates an array of intriguing foreign and fantastical features. These peculiar lands verge on fantasy, but maintain elements of reality. Takacs says, “we like to ground it in something real. Taking something ordinary and twisting it, making it uncanny. That’s where we like to operate… A lot of our stuff can be very fantastical, but there’s always something that pulls it back down and makes it real.” Without explicitly indentifying the settings, Young Replicant charges the viewer to decide for himself. The mysteries of Young Replicant’s worlds do not end with the environments they create; the stories depicted within them also are shrouded in uncertainty. It is never clear what incites the actions within their films but the sheer intensity of the imagery implores the viewer to fill in the gaps. Each viewer has a different experience. Nankin and Takacs prefer leaving their music videos up to interpretation. They feel that many things are “better unknown. It’s much nicer when it’s left to interpretation. It could be another planet, it could be in someone’s mind, it could be on earth.” The filmmakers pepper their videos with symbols for the audience to interpret and solve. Young Replicant, as filmmakers, are not far off from the revered directors of global cinema. Letting the music guide their work, Young Replicant present their imaginative worlds with striking cinematography. From effortless elegance to epic action, the images found in Young Replicant’s films are stunning. With gorgeous camera angles and framing, each shot stands alone as a beautiful image. The thoughtful details and inventive costuming captured in perfect lighting make each frame a beautiful photo. Slow motion saturates their films, allowing the viewer to fully appreciate the intricate beauty of their creations, while rhythmic cutting creates a seamless flow from shot to shot. With the music leading the way, Young Replicant creates true cinematic masterpieces. Despite the obvious valor of their work, Young Replicant, like most
filmmakers in their field receive little to no recognition for their productions. Hollywood filmmakers aspire for Oscars, Golden Globes and the like, while smaller scale directors may aim for recognition from respected film festivals. But for music filmmakers, there are no equivalent goals. The MTV Video Music Awards are not a serious program; they are ad-enriched, celebrity-littered, and aimed at entertaining teens and pre-teens. The VMAs put little to no focus on the directors of these videos, instead only highlighting the singers depicted in them. MTV itself awards the winners with a moonman figurine, which perfectly represents the ridiculousness of the entire ceremony. Although some legitimately talented directors are recognized with the ever-prestigious Moonman Trophy, these artists and their comrades deserve more respect. The Grammys fail to present such an appropriate arena. As there is only one Grammy awarded for music videos, only a select few of today’s prolific directors are nominated and even fewer awarded. This is likely due to the fact that the aging men and women, who control renowned art recognition programs, because of the glitzy videos of MTV’s early days, have written-off music videos as -brow entertainment source. But as the younger generations mature and seize control of the art world, music videos will surely rise in prestige. As these visionary filmmakers, like Young Replicant, continue to experiment with the medium and inventively combine music with film, we shall witness a new era of the music video. These filmmakers teeter on an unstable bridge between the high-brows of the intellectual art world and the low-brow masses, for whom pop cultures is designated. A truly hybrid experience of music and film is no easy task, yet the historical position of music videos on the bottom rung of popular entertainment has hindered this medium’s artistic success. Beginning in the MTV era, music videos were designed and marketed for mass consumption. Designed and aimed at widespread appeal to wide, diverse audiences, music videos previously did not attract innovative artists. Ushering in a new era for the music video, the digital age has brought us a new generation of filmmakers working in music video production. Despite its trashy reputation, the music video continues to attract visionary directors, who truly respect the medium as an art form. Their music videos, which should rightfully be called “music films,” often go unappreciated by the public due to the lack of a proper arena for their art.
From “Loud Mouthes” by Wise Blood.
IN GOOD HEALTH BY SHANE KONNO
HEALTH, like their stylized all-caps name suggests, is loud. This noiserock band from Los Angeles explores the power of decibels with their fusion of hardcore, experiment noise, and classic rock. The fours members, Jupiter Keyes, John Famiglietti, Jake Duzsik and BJ Miller formed in Los Angeles about seven years ago. With the final edition of drummer Miller, the group discovered their harder edge and soon established themselves within the noise rock realm. Their live performances induce mass head-banging as HEALTH’s Famiglietti leads the way whipping his flowing hair from one end of the stage to the other. HEALTH explores fusing genres and experimenting with new sounds. Their connection to electronic music has inspired them to release two full-length remix albums, comprised of other artists’ remixes of HEALTH’s songs. Drummer of HEALTH, BJ Miller, took some time during their tour with Crystal Castles to talk to NO15 about their story and their sound. NO15: HOW DID THE BAND MEMBERS COME TOGETHER TO FORM HEALTH? BJ MILLER: I just happened to stumble upon them on Craigslist. They had formed the name and general idea for a band from their influences and capabilities at the time, and I just kind of came along. They had a couple songs and demos; I basically learned one of them, played it in a tiny little slot of a room at this rehearsal space, that now we finally have a big floor and a window in. We’ve been moving on up… in the same building for seven years. “That was the band,” I remembered thinking to myself, “these guys want to do something.” Forget about “going somewhere.” I could feel the ambition. 15: HOW DID THE GROUP ESTABLISH ITS SOUND AS NOISE ROCK? BJ: A couple months after I was involved, on our first tour, things got a little wilder. I guess I credit myself at making those guys want to go ape-shit. Things got more primal. All of us found our harder hitting side. That is one thing they did want from me: “to play hard,” which was good, because I play hard. Most bands were telling me not to; that I was getting too crazy for them. So this was totally an invitation to discover that. Our sound just built, until today, where I now have a drum sampler and we have tracks that start songs. We’re doing things that actually we swore we would never do. But we still do them our way, with a sense of the rules we live by, which are still fuzzy. We break rules when we need to break rules, when we feel like it serves a song.
15: WHAT IS YOU STANDARD PROCESS, WHEN CREATING MUSIC? BJ: These days it’s like totally crazy. Back in the day, it could’ve been anything from a flow chart someone had or even just a concept. The chords would follow. This very minimal two-chord thing with these crazy heavy boding drums. Sometimes John and Jupiter might just go home, ignore us for a minute, then come back and it’ll come together. Same with Jake. He’ll come with a vocal part or a guitar part. With our song “Nice Girls,” he was just playing a couple frets in different ways. Now you put hog pedals, and distortion and shit on it and John doing his thrashing action and suddenly it’s this whole thing.
15: DO YOU HAVE ANY PARTICULAR SOURCES OF INSPIRATION? DOES ANY SORT OF ENLIGHTENMENT OCCUR TO SPARK A NEW SONG? OR JUST THE NEED TO MAKE MORE MUSIC? BJ: Well, it is often the need to make an album to keep our fanbase, which we will be trying to do as soon as we get back from this tour. I don’t know about enlightenment for everyone, but I’d call it that for my drum parts. I’ll just be hanging out and drumming for three hours and all of a sudden a beat comes to me. That can totally influence a song. I feel like everyone else has a private space in that sense, too. Sometimes, you hear a riff or a song that you think “oh, we could do something like that.” I think that’s what a lot of musicians do. You try not to do it too closely, obviously. As much as we try not to do “referential” things, that’s like saying no one does. I think music is pretty infectious and everyone knows that there are influences there that we can’t escape. 15: TELL US ABOUT THE HEALTH’S REMIX ALBUMS, HEALTH//DISCO & HEALTH::DISCO2. BJ:The remix is a really cool element, and hopefully we’ll do another one. John really spearheaded that idea as an album. Although, Crystal Castles is who really made us think, “oh wow, people can make better songs with our songs.” If we can just put it out and find people interested in our band, we’ll all of a sudden find people liking us who wouldn’t be interested in our band otherwise.
15: HOW IS TOURING WITH CRYSTAL CASTLES? BJ: Every show has been just totally amazing and there have been a lot of unexpected moments. The shows are just incredible. We’re really in debt to them for taking us on a real tour, especially in regards to the lights and soundmen they’re providing. The amount of lights they brought is ridiculous. We’re getting to use their production team, which is pretty addicting, honestly. I think we’re going to be pretty uncomfortable when we have to go back and perform without all of that. We are as good as we can really be and this is as good as a show can be right now. I feel like it’s a really good show. I think kids are stoked, because [Crystal Castles] definitely puts on a show. We’ve both always had respect for each other as bands. We’ve played two tours with them before. We’re definitely sister bands and it’s very noticeable and becoming even more so as we keep performing. We can almost share a stage now, but that would be a weird superband.
15: THAT’S ONE WEIRD SUPERBAND, WE’D TOTALLY GO SEE! THANK YOU SO MUCH FOR YOUR MUSIC AND YOUR TIME.
17
AGAINST THE CURRENT: NO WAVE BY TAYLOR HOGSHEAD
Due to the volatile nature of internet pundits, things are moving faster than ever in the present music landscape. Superfluous genres are being up heaved and torn down in a matter of months. The blogosphere dismisses its obsessions just as fast as they are established; trading out old heroes in favor of newer, shinier, and sleeker models. It may be a valid question to ask if anyone will remember what the hell “Chillwave” or “Trap“ was in ten years. Pigeonholing artists into ever-increasing subcategories seems to serve as a preexisting expiration date for those who may feel lucky enough to spark their own moniker. Maybe that’s all that matters today, the label and the connotations attached to it. Enter No Wave. Emerging from the New York City underground in the mid 1970’s, No Wave was a movement that refused to be. A collection of musicians and artists congregated in abandoned apartment buildings in the Lower East side to produce some of the most openly resistant combinations of sound and visual performance of the 21st century. The goal: utter individualism. In response to popular culture of the time, No Wave completely rejected conformity, even denouncing the adolescent nature of the punk scene that they were often clumped with. No Wave, to combat the pop-rock of New Wave, ran the gambit from the anarchistic R’n’B of James Chance and the Contortionists, nihilistic noise
Orignal still from Young Replicant’s video for “Chained” by The XX.
barrage of DNA, and gritty bass throb of Mars. Despite existing within the No Wave collective, artists admittedly had no desire to inform one another, each adamantly denying their influence on anything or anyone else. To them, no art form had existed in such a creative vacuum, and would never truly exist again. Whether or not the No Wave legacy is to be considered distinctively profound or simply an insignificant ripple in the pond of innovative rebellion, music scholars have largely viewed its existence as an isolated artifact. Experimental artists have rarely announced its impact on their work, yet there remains a trace of the subculture’s unconventionality throughout modern experimental music. Just as the No Wave movement wished to be an explicit contradiction of their New Wave counterparts, bizarro indie rock and electronic artists of today are able to make a name for themselves by grabbing the attention of bored and exhausted fans. The likes of Ariel Pink, whose juxtaposition of flashy tongue and cheek cynicism and A.M. pop reproductions, have people wondering if he’s a mad genius or an elaborate hoax; while freak electronic artists Animal Collective have garnered a steady career the last decade by pushing their brand of eccentric tribalism in a handful of unexpected directions. This is just to name a prosperous few that have found success through the guise of individuality, an individuality whose sincerity would most certainly be questioned by the forefathers of the No Wave movement. The product and result are now different, but the ideals are equal to some extent: pure art, disengaged from external pretenses, should be valued. However, the influence of No Wave is tangible in our contemporary music landscape, despite the movement’s desire for exclusivity and originality. The ripples of the short-lived No Wave movement continue to live on through individualistic artists who dare to defy the common trends, instead embarking onto music grounds all their own.
超かわいい! BY ANNA LI FEATURING RACHEL TRACHTENBURG AND JULIA CUMMINGS OF SUPERCUTE
28
THE GALLERY CURATED BY REBECCA LIMERICK
EXTRA! EXTRA! EXTRA TERRESTRIAL! THE HUMAN RACE IS FEELING THE PRESSURE OF SINGULAR CONSTRAINTS: ONE BODY, ONE PLANET, IT’S SUDDENLY NOT ENOUGH! ARTISTS ARE THE REAL VOYAGERS, VENTURING INTO THE VOR-
TEX OF SPECULATION, OF THE UNKNOWN, OF THE IMPOSSIBLE. CREATIVE DUO WE COLONISED THE MOON SYNTHESIZES THE SMELL OF EARTH’S ROCKY SATELLITE. WHILE JENNY SABIN STITCHES TOGETHER SCIENCE TO FABRICATE A HIVE-LIKE DOME THAT CAN TRANSPORT INHABITANTS FROM MORNING TO MIDNIGHT IN 20 MINUTES. AND ANDREW AMODEI DIGITALLY MELDS IMAGES TO EXTRAPOLATE THE FRACTALLING NATURE OF SELF-SIMILAR REPLICATION FOUND WITHIN AND BEYOND THIS UNIVERSE. IT IS BECAUSE OF THESE IMAGINATION EXPLORERS THAT (WO)MANKIND CONTINUES TO TAKE GIANT LEAPS AND SKIPS AND TWIRLS.
ART
“Astronaut Privatised”
SUE CORKE & HAGAN BETZWISER “WE COLONIZED THE MOON” Sue Corke and Hagen Betzwieser met by chance in 2008 conducting artistic fieldwork at a bus stop in Norway. Working for the last four years as WE COLONISED THE MOON their graphic art and installation projects have embodied a child-like wonder of the universe. Employing a range of DIY production techniques their partnership is rooted in absurdism and theatrical performance, characterised by slogans and catchphrases. Together they seek to demonstrate that the future may indeed be frightening, but also highly entertaining.
“Space Maintenance”
ANDREW AMODEI “SOUL STRATIFICATION� Andrew Amodei has a great appreciation for the natural beauties produced throughout this universe. Being an active advocate of open-mindedness, one primary passion is in sacred geometry, which postulates that the universe is operating mathematically under certain algorithmic laws of nature. This series aims to hold a balance of interplay between entropy and redundancy in order to create both surprise through unpredictability, and also a redundant coherency in which all images obey the same self-assigned algorithmic rules.
JENNY SABIN “MY THREAD PAVILIAN” Jenny Sabin’s work is at the forefront of a new direction for 21st century architectural practice — one that investigates the intersections of architecture and science, and applies insights and theories from biology and mathematics to the design of material structures. Sabin is currently an Assistant Professor in the area of Design and Emerging Technologies in the Department of Architecture at Cornell University. My Thread Pavilion is a collaboration with Nike, comprised of solar active and reflective photo luminescent threads which periodically transform to embody the light of different times of the day.
SUPERSONIC DESCENT BY ALBERT TRUJILLO
October 14, 1947: Charles E. Yeager breaks the sound barrier aboard the X-1 aircraft. October 14, 2012: Felix Baumgartner breaks the sound barrier while free-falling. With just a helmet, gloves and a parachute-equipped suit, Felix Baumgartner became the first human to break the sound barrier without a speed-aiding device. Baumgartner fell from the stratosphere at a height of 128,100 feet (roughly 24 miles) for four minutes and twenty-two seconds, reaching a maximum speed of 833.9 miles per hour. 100,000 feet above sea level sets the speed of sound at 690 miles per hour, also known as Mach 1; Baumgartner’s feat set him at Mach 1.24. All eyes were on Baumgartner as he plunged to the earth live on television, a performance artist of sorts testing the boundaries of body and speed. Baumgartner’s accomplishment leads us as mere viewers to question sound. We’ve learned about sound through music and hearing, and possibly in an introductory physics course in high school. Most people can throw out umbrella terms such as oscillations, waves and speed in correlation to sound, even if that is all they are doing. For the most part, sound is taught as something of another dimension. It is this intangible force that humanity heavily relies upon, but never challenges. You can hear the clock mechanically tick, you can feel the vibrations flow from your speakers, but you can’t see sound. You can’t smell or taste sound. It’s dormant familiarity warrants ignorance, a lack of curiosity,
and yet sound has so much governance over humanity. Its amalgamation and fluidity can evoke nirvana, while its shrill suddenness can induce terror. When we produce it, sound has the ability to offend, to enlighten, to provoke—and we accept it for what it is. For Felix Baumgartner, however, sound is tactile; it is a force to be penetrated and eclipsed. Baumgartner’s free-fall makes him the only human in history to know what it feels like to match sound, to surpass sound, to be sound. In doing so, Baumgartner tears down the surplus of society: limits. The risks involved— blood boiling, uncontrollable spinning, below freezing temperatures—were all serious obstacles that a human body, from a scientific perspective, should not be able to withstand. However, how is one to decipher what the human body can withstand and accomplish without putting it to the test? Baumgartner’s plunge is an example to all that we can transcend limits and accomplish the absurd. “I’m going to travel faster than sound.” It starts with the brain, and the ability to believe and perceive beyond.
41
HOW TO TRANSCEND:
THREE EASY STEPS TO STEP OUT OF THE CONFINES OF YOUR SINGULAR HUMAN FORM BY REBECCA LIMERICK
1. Outlive your body: Once your heart halts, your neurons continue to crackle for five to twelve minutes. Now, 300 to 720 seconds may seem like a non-duration in the geo-timeline, but let’s slip back into dreamtime for an extended moment. Your marimba-toned alarm awakens you at 7:00am, you slide into a 5 minute snooze. You find yourself shaving your dog on national television underneath a melting dining room table before 7:05 fires into fruition. Twelve minutes in live human years could translate to eons in brain years; in this post-body posthumous state you can live a parallel lifetime. 2. Embrace and explore infinity and totality: To say yes to one instant is to say yes to the whole of existence. From inside the domino neural maze out to the planetary patterns, interconnectivity is inherent and consummate. If individuality is something to be encapsulated, then once it is nurtured, it must be released, allowed to dissolve and merge. Self-sacrifice in the truest sense of the phrase refers to bequeathing your selfpieces through blind acts of loving and love making, and through rampant learning and sharing of ideas. It is not finding the self but rather losing the self that unbolts the portal to the unknowable next. 3. Adopt Nomadness and multiply: When thinking about the spatial boundaries of your neighborhood, look beyond fences, gates, and properties lines. What about your wifi network radius? Each modem promotes a definitive yet unseen sense of partition. The duality of spaces, earthly versus virtual, is becoming increasingly omnipresent. Thanks to IPv6, now 7 million people each possess potential access to 10^23 IP addresses. Creating an online identity through blogging, role-playing games, even Facebook is a tactic in cloning yourself. Pre-internet society needed to buy a train ticket to zoom between A and B. Now you can send yourself across the globe in seconds, because not only time, but distance has been ultracompressed. In this era of technomadness it’s possible that our Google logins could become as vital as our passports. When thinking about “home,” remember cyberspace can be as real as dreamspace can be as real as floor space.
FAQS: Q: WHAT DO I WEAR ON THIS TRANSCENDENT JOURNEY? A: You know those “I Heart NY” shirts? Well how about an “I Everything Everything” shirt. This is the real slogan of our multi-faceted, wildly simultaneous, brainful selves. Q: HOW DO I GET THERE? A: Engage in public transit! A sense of spiritual communion and oneness is cultivated through widening our mobile bubbles. Let your butt kiss the warm seats; let your ear canals flow, and your windpipes chime. As you speed through the intestines of any town you may look for your companions. Don’t forget to glance down at your hands, you may find the edges to be blurred, you may feel singular but look plural. This is because what you see through two eyes pertains to the keepers of every other eye pair. You are they and they are you. Q: CAN I OBSERVE MY FIRST TIME AROUND? A: It is vital that you pARTicipate! All art making practices oscillate between this realm and the one above. While the vocal chords, the paintbrush, and the video camera may be rooted in reality, the melodic musings, the amalgamation of abstract strokes, and the marriage of sonic and visual digital expression penetrate the ceiling. It is not only necessary to access your imaginative powers but to hone them through musical, visual, or performative experimentation. Q: WHEN I’M DONE, WILL I LOOK DIFFERENT? A: First off, you are never “done.” Think of life as an infinite process, change is inherent and inevitable; it has so much inertia it can never be halted. Further along in your process you may begin to perceive through physical boundaries. Be suspicious of solids, for everything can be placed on a scale, THE ENEMY IS OPACITY.
WARNING: THIS LIST IS AS FRAGMENTED AND NONSENSICAL AS THE FIRST FRACTALS TO ABSTRACT YOUR COHESIVE VISION. THESE TIPS ARE NOTHING BUT SPLINTERS OF A FLUID FORM, OUR INFINITY AND MULTIPLICITY AS A SOCIAL EXISTENCE AND AS COMMUNAL INDIVIDUALS CANNOT BE EXPRESSED THROUGH AN EXPLICIT LIST ROOTED IN A SINGLE REALITY. READING THIS IS A STEP, BUT ONLY THE MOST STAGNANT OF STRIDES; START RUNNING, SKIPPING SIDEWAYS, FLYING FORWARDS, SUBMERGING YOURSELF AND SUMMERSAULTING. DON’T FORGET TO DANCE DANCE DANCE DANCE DANCE, TO TEST THE LIMITS OF YOUR LIMBS AND PUSH THE BORDERS OF YOUR BRAIN!
LOSING YOU FOR GOOD BY LIZZIE STRUPAT
MODEL: MISHA EVAN ASSISTANT: KEVIN FUHRMANN
50
ALL CLOTHES TOPSHOP.
ARE
WE
ANIMAL OR ARE WE MACHINE TODAY? DOES HE STAND TRIUMPHANTLY AT THE TOP OF THE FOOD CHAIN AS MASTER OF THE NATURAL WORLD? OR IS HE A JUST A SLAVE TO THE TECHNOLOGY HE EMPLOYS? BLOOD MAY COURSE THROUGH HIS INTERNAL WIRING, BUT DOES THAT MAKE HIM HUMAN? DOES AN IPHONE BRAIN NEGATE MAN’S ANIMAL STATUS? WHAT POWERS THE HUMAN MACHINE, BITES OR BYTES?
DEBATE
WATERCOLORS BY ALEXANDER HARDER.
ANIMAL BY NOAH GREIFER
Living flesh. Humans are piles and piles and layers and layers of living flesh. Humans are made of cells, and not those rigid cellulose-rimmed catastrophes you see on plants; no, humans are made of those same malleable, squishy, blobby little things that form the basis of all animal life. Humans move; they need to move to find food because standing in the sun just doesn’t do it for them. Humans fuck. They shit. They barf. They birth their young. But most importantly, they make choices. And maybe free will doesn’t exist except by social necessity, but that’s about the same amount as any animal has. Humans operate at a higher level than parts moving and gears turning; sociology and ecology are identical except for humans’ humancentric bias, but what animal wouldn’t bias itself? Only a machine could avoid such an error, and yet that error reflects the very essence of humanity and animality: survival at all costs. How could a human live without loving humans? How could an animal live without loving its own species? Humans commit errors, these errors that philosophical machines are so quick to point out, but what are these errors but not de facto survival? Let me tell you a thing or two about Darwin, bro: animalistic biases, behaviors, and judgments don’t survive unless they are critical for procreation. Not built, humans develop, no different from that tailed fetus in the belly of the brashest beast, tearing unevenly through the water to claw that upstream salmon for a candlelit cave dinner. At 6 weeks, you can’t tell the difference between a fetal human and a prenatal puppy. But then comes birth, and that completely unique ball of goo now formed into something real can live life with all its randomness, a humanoid animal among all the rest.
MACHINE
BY SHANE KONNO
A complex series of interrelated parts, each with their own individual purpose, function together to produce human life. This encompasses far more than our biological systems. To perform the duties deemed vital to modern day human life, we must link our bodies to external hardware. These technologies has become increasingly integrated into the human machine, intrinsically tying the human to the socket. With each technological advance, the human machine upgrades, but with each upgrade we are further shackled to our electronically powered gadgets. We become better equipped to face the increasingly complex and global network of planet Earth. Smart phones and tablets extend our abilities as they become extensions of our bodies and minds, rendering our livelihood completely dependent on the devices we’ve sewn into our systems. Powerlines serve as our lifelines. As modern human life increasingly requires our plug-in companions, we must live our lives in silent, constant pursuit of that open electrical outlet, because god forbid our external hard drives should go dead. So what about when the power goes out? Imagine a blackout. What happens when our precious electronics go dead? How do we navigate the planet without the lens of Google Maps or the friendly female voice spewing directions from our GPS? How do we contact our loved ones without email, texting, skype or facetime? If we wanted to call, is there even a landline to use? Can we remember the numbers without our mobile phonebook? Without fingertip access to the ever-expanding wealth of internet knowledge, how are we expected to complete many of our daily tasks? With no power, the human machine screeches to a halt. We may be able to survive on the most basic of levels without technology, but to carry out the functions we deem necessary for human life today, we must be plugged in.
STAGE/LIFE:
MULTIPLICITIES OF DRAG AND THE EXPANDING STAGE INTERVIEW BY N.M. ROSEN TRANSCRIBED BY ALEXANDER HARDER
Walking into the backstage of the ladies of Lips San Diego, you enter a blur of wigs, sequins, and electric energy. Drinks are being passed around, and the good-natured trash talking warms up the performers for the monthly Bitchy Bingo event they lead. Despite the show still being half an hour away, the unmistakable excitement of the stage was beginning to fill the brightly lit, and bustling space. As drag queens have increasingly gained popularity and recognition in pop culture, so has interest in what goes into the transformation, history, and the performers themselves. I had a chance to talk to the ladies of Lips before their show, to hear their stories and personal insights to their experiences with drag. Many of the performers had been enjoying the stage for many years, while a few others had honed their stage skills through dance or theater. The range of reasons and histories was astounding, and their insights were just as varied. However, for each performer the ideas of performance, transformation, and the stage came to the forefront of our conversations. Some common themes centered on the moments of performance (beginning, during, and after), their introduction to and history with drag, and their relationships to other performers, as well as the role drag plays in their lives. For many of the ladies, their creativity was split between the ornamentation and the choreography. For all the glitz and glamour (and hard-assed attitudes), many of the stories we heard were inspiring. What follows are some excerpts from our conversations.
CULTURE: TRANSCENDENCE
PHOTOS BY ALEXANDER HARDER
FIFI “It is a party. It’s a party all the time. You put the face and the lashes on and all you want to do is have a cocktail and go crazy. “I love the fascination of it. That people look at you and wonder “how did they start doing it, how did they get into it.” Plus, it’s opened a lot of doors for me. A lot of people would probably say that it’s a negative, but I’ve performed in a lot of places, I’ve met a lot of wonderful people because of the lashes and the lipstick. Call me crazy, but I’ve had a great time with it.”
KIKI “I’ve been performing for thirteen years. The reason I started was because I had two sons and I was a single parent, I was in the navy and I couldn’t afford to have my kids. The way I act on the stage is how I want to act really, but you can’t. Once you get on the stage you can say whatever you want to say. So all it is is an open window to say whatever the hell you feel. The performance starts when I wake up in the morning, because I live like this. This is me 24/7.
UTOPIA “I have a musical theater background, and I take a lot of inspiration from that. “The stage is a place where you can push boundaries, get people to think, gets you out of your comfort zone, and I think that’s just really amazing. As an artist, it is so freeing to be able to transform, into a character onstage, and then to have the audience captivated.”
CHEYENNE “I’m 29, and I’ve been doing it since I was seventeen. I don’t have any day jobs, this IS my job. It’s dream life. Being pretty, people taking pictures of you. “The performance starts the minute the makeup goes on, that’s when Cheyenne is it. I can have the padding n, I can have the dress on, but if the face isn’t there then it’s just not going to happen.”
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CASSIDY “My favorite part of performing is painting, well, what we call putting on makeup. Tranforming into someone outrageous, someone who’s not you. It’s like putting ona mask. A really beautiful, glittery, sequined mask. “Performing-wise, I love the applause. It’s pretty much what we work for. At the end of the number if they don’t appreciate it, there’s no point. Applause makes you feel pretty special. “Sometimes we do shows where we don’t get paid, but we do it for the experience, to learn the craft.”
NAOMI “I popped out of the coochie in heels. “I feel myself once my lashes go on. “If you love something, don’t let other people decide how much love you can have.”
THE FLESH CPU BY AK
Although the products that companies like Microsoft and Apple create seem much different from those created by Merck and Pfizer they are more alike than one can imagine. Man has created the inner workings of computers to function as extensions as well as mirrors of the types of information transference through electrical activity that occur within the human brain. Unlike electricity from a wall outlet created by fossil fuels, our flesh based computers are fueled by an acute balance of electrolytes and glucose molecules. With the introduction of alien molecules to the system we can willfully alter the way that our own processes are executed. It can be surmised that as the technology advances the use of narcotics will become more widespread and accepted as an effective method to enhance the abilities of this flesh computer we call the brain in the same way that hardware and software upgrades can increase the functions of computers. No longer will medications be used to fix “deficiencies” and “imbalances” but instead they will be used to allow the users to think in expanded ways and develop skills that they regularly would not posses. This might seem like a fantastical view of the future but the evidence of these practices already exist in the current day. Many of us have experienced the increased confidence and enhanced social openness that comes with imbibing alcoholic drinks, but fermentation and distillation are almost as ancient as society itself. A prime contemporary example can be seen in the use of the narcolepsy medication Modafinil which has been used beyond its medical means to military and government applications. This drug is administered to astronauts on the International Space Station in order to regulate circadian dyssynchrony caused by the absence of a night and day cycle compatible with the human body, which is designed to function in a terrestrial environment (1). The use of this chemical beyond medical means allows humans to exist in an extreme environment while serving the purposing of aiding the science of space exploration. In addition to legally produced narcotics the use of illegal narcotics has also presented itself in similar remarkable circumstances. It is widely believed that Watson and Crick, the Nobel prize winning scientists responsible for the discovery of the double helix shape of DNA, were under the influence of LSD, which is known to increase spatial thinking ability, during their discovery. The fields of Cognitive Science and Neurobiology are relatively young and as time goes on the collective knowledge of humanity to understand how to further manipulate and control the ways the most important organ of our bodies’ functions will only advance. It is our responsibility as individuals on the edge of this frontier to become educated and avoid the moral pitfalls of past generations. Drugs are not the problem they are the answer.
REVOLTING BODIES BY ALEXANDER HARDER
In many horror films, the human body provides the canvas for our exploration of fear; it is mutilated and destroyed. It is easily cut, slashed, punctured and impaled. The body is a vulnerable, threatened, and passive object. The formulaic Slasher films of the 70’s and 80’s, feature a conventional cast of young adults: the Stoner, the Jock, the Slut and the Final Girl. Stalked by a frightful antagonist –a chainsaw-wielding madman, an array of mean-spirited ghosts, or a shambling mass of undead– they are, one after the other, killed off in increasingly gruesome ways. The visual display of the destruction of the corpus plays a central role, bordering on absurd and nearing the edge of comical. More recently, films like Cabin Fever, Hostel and the many Saw movies have reinforced these images of the body as trapped or immobilized, to be inevitably tortured in cringe-inducing manners. But there is something at least equally as scary to the threatened bodyobject: A body out of control; a body that mutates and transforms on its own behalf, losing and growing limbs, altering the human shape; a body with the ability to act against its inhabitant’s will; a body with agency. Amongst other directors, the early David Cronenberg and, on occasion, John Carpenter have explored this fear in their horror films. In Cronenberg’s The Fly (1986), after an experiment goes wrong, scientist Seth Brundle, played by Jeff Goldblum, slowly turns into a human-housefly hybrid, shedding and gaining appendages in the process. After initially believing to have acquired superhuman strength and dexterity, his sanguine illusion is shattered
when his teeth, nails, and even ears are expelled by his body, until finally his habits, needs and desires transform into those of a housefly: sugar and sex. While Cronenberg presents us with a repulsive and nauseating body (since he lacks teeth, the increasingly transformed man-fly vomits enzymes over his food to liquefy it), a more fundamental sense of dread comes from Brundle’s loss of control over his mutation and the accompanying loss of any human resemblance. His morphing anatomy obliterates rational thought and turns Seth Brundle into a creature steered by primal desires. The corpus’ triumph over sanity –embodied in the image of the scientist– and Brundle’s inability to anticipate or negotiate this metamorphosis, shake the audience’s basic beliefs about the power relations between the mind and the body. The film introduces the body as an actor in itself, but as an actor whose motives or intentions remain inaccessible, unknown and inscrutable, and are thus truly horrifying. John Carpenter’s The Thing (1982) tackles the recursive image of rebellious and unintelligible bodies even more radically. An all male cast of scientists in an Antarctic research base discovers an alien life form that consumes and then imitates living organisms. This results in growing paranoia and distrust amongst the main characters, since they do not know who is real and who is, basically, a thing. In scenes in which the parasite reveals itself as such, it morphs into a warped organic mass. Mutated limbs, stretched skin, multiple heads, mouths, eyes and misplaced intestines all bear traces of the creatures it previously consumed, while simultaneously grossly distorting any resemblance with legible entities. While in one moment it looks like a human being, the alien spontaneously grows heads, teeth and additional limbs to assault the researchers in the next. Reading the thing as an “all body” entity that both literally and metaphorically attacks the sanity and rationale of the male scientists stresses their (and the audience’s) inability to grasp or make sense of its motivation and intentions. Inaccessible to their modes of thought and models of reality, the thing comes from a beyond. Its personified corporeality serves as the movie’s main antagonist – incomprehensible and unfathomable; violent and frightful.
Bodies out of control, or rather, in control over our minds, shake the foundations of the belief that the mind is all that dictates reality. When bodies begin to assert their agency and influence on the maIMAGE BY HANS BELLMER, 1936
terial world, they question the relation of the mind/body duality so deeply ingrained in Western philosophy. They suggest another grasp of reality, of knowledge and experience beyond the rationally dissectible. With pointed teeth and mutated limbs, they claw away at the dominance of logical and theoretical thought. Finally, recognizing the body’s agency comes at a high price. Dethroning the imagined mental authority costs either the protagonists’ humanity or their life altogether.
EXPERIENCING REALMS OF DEATH IN CINEMA BY MILOSZ ROSINSKI
I think, therefore I am. Why? I thought so, at least. Word. Experiencing another realm of reality mentally while physically inactive is what dreams share with the movies. Movies, one could say, are two-dimensional hallucinations of filmmakers who want to make their dream visible. In that sense, movies serve as the most popular hallucinogenic drug, with little sideeffects known. Mind-bending, however, might be one side effect of movies -especially if the hallucinations of the screen try to thematize their projection of ideas on a meta level. Movies can be quite helpful and distorting, at the same time, to understand the complexities of hallucinations. These hallucinations can take many forms of a play of light. Sometimes filmmakers reveal a play of light merging into fractal and abstract structures and colors. In other times, similar experiences are even more drastically crazy: movies can simulate the most difficult ideas imaginable -breaking common sense and reaching the limits of understanding beyond living into visual near death-experiences. With the mind-belt fastened and in ready-to departure position, the simulation of near-death experiences in movies is one of the dead ends of meaningful understandings of body, self, and reality. Visually trespassing the living realm through images is allowed, but transgression alters the subject with possible long term effects. Analogously to dreams, there is an aftermath of these visions: The mind influences the perspective upon what has been experienced and this has effects on the perspective upon self and reality. Thinking precedes being. But questioning the Cartesian self can turn into a dangerous razor-blade-dancing game of the mind. In popular films like Stanley Kubrick’s 2001: A Space Odyssey or Gaspar Noe’s Enter The Void, powerful visualisations are presented which our living
reality calls near death experiences. These experiences, known to be caused by a chemical substance abbreviated as DMT which is released by the body after clinical death, are considered extremely powerful abstract visualisations of other realities. Anyone, it seems, who does not want to start experimenting with the illegal drug that releases DMT chemically may find an appetizer in these movies. Inspired by the descriptions of the Tibetan Book of the Death, the DMT sequences in Enter the Void investigate the language of colors and rhizomatic and fractal forms as a flying spectre through void. The movie portrays near death states enacted through DMT as abstract odysseys through geometry, time, and space beyond gravity. The cinematic vision in Enter the Void goes even one step further in retracing near death -it transgresses death. In a sequence of bodily travels, the soul of the character Oscar flies over the skylines of Tokyo observing the living underneath. Distorting as they are, the images are a trace of no referent: death does not communicate to us. “Being and nothingness” in near death experiences is also a visual characteristic of the hallucinations seen in 2001: A Space Odyssey. In contrast to Enter the Void’s personal account, the movie makes the spectator fly through electronic-wire like vibrating cosmological spaces. Seeing through the eyes of a quantum particle flying around CERN, it seems these images take us outer space. The illusion of these travels, like in dreams, has substantive effects on the mind. When deliberately reflecting upon these experiences, as well as randomly being visited by them, thought, being, and existence are put in a shaky perspective of the unknown. The power of imagination of filmmakers through plays of light confronts the spectator with those visions of death and confronts them with eyes outside of the beholder. It reminds us of a unstable horizon of existence and the limits of understanding death.
Stills from Enter The Void and 2001: A Space Odyssey.
SERAFIMA BY MARTA GIACCONE
MODEL: SERAFIMA KOBZEVA AT WOMEN DIRECT STYLIST: JACKY JIAO
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ALL CLOTHES VINTAGE.
TRA DI NOI
PHOTOS BY DOMENICO PETRALIA ILLUSTRATIONS BY ALEXANDER HARDER
ART DIRECTOR: JOANNA GYAMERA STYLIST: EVA PICARDI ASSISTANT STYLIST: AURA ROVERATTO MUA & HAIR: SERENA PALMA AND LISA DE PALMA MODELS: JOSIPA HARMICAR AT MpMANAGEMENT JUSTINA CESNAITE AT IMG MILANO
OPPOSITE: SARA BUCCI COAT; MAISON MARTIN MARGIELA TROUSERS; STIÙ SHOES. THIS PAGE: DUERTE COAT; ZARA COLLECTION SWEATER; RICK OWENS SHOES; MAISON MARTIN MARGIELA JACKET AND TROUSERS; CALZEDONIA SOCKS.
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LEFT: (JUSTINA) VINTAGE DRESS; RICK OWENS SHOES; WOLFORD SOCKS;(JOSIPA) CÉLINE DRESS; RICK OWENS SHOES; WOLFORD SOCKS.
LEFT: LANA DEL CASENTINO COAT; CÉLINE SWEATER; RICK OWENS SHOES. RIGHT: (JOSIPA) ZARA COLLECTION COAT; MAISON MARTIN MARGIELA TSHIRT; PRADA PANTS; STIÙ SHOES; (JUSTINA) MAISON MARTIN MARGIELA COAT AND TROUSERS; AMERICAN VINTAGE T-SHIRT; STIÙ SHOES.
BASEMENT THEORY BY ALEJANDRO PARRA
STYLIST: KEVIN NGUYEN LIGHTING: ALEX ZHU ASSISTANTS: MAY YANG AND ROBERT NGUYEN MUA & HAIR: MADDISON O’DELL MODELS: N.M. ROSEN, ALEXANDER HARDER, MARIA MATHIOUDAKIS, AND NOLAN SPENCE
OPPOSITE: (N.M.) ALEXANDER WANG TOP AND SWEATER; UNIQLO TROUSERS; (ALEXANDER) FCUK TOP; ALEXANDER WANG SWEATPANTS;(MARIA) SAKS FIFTH AVENUE OFF 5TH FUR ACCESSORY; DVF BY DIANE VON FURSTENBERG JACKET; QUPID SHOES;(NOLAN) VINCE TOP; MARC JACOBS JEANS; JOHN VARVATOS SHOES.
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LEFT: (MARIA) ST. JOHN CARDIGAN; PIAZZA SEMPIONE DRESS; MOSCHINO BELT; QUPID SHOES; (N.M.) STELLA MCCARTNEY BLAZER; FASHION STAR BUTTON UP; VINCE SWEATER; JEFFREY CAMPBELL SHOES. RIGHT:(NOLAN) SAKS FIFTH AVENUE OFF 5TH SCARF;(ALEXANDER) KVN COAT.
PRADA BLOUSE; MOSCHINO SKIRT; QUPID SHOES.
(MARIA) SAKS FIFTH AVENUE OFF 5TH FUR ACCESSORY; VINCE LEATHER DRESS; (ALEXANDER) RALPH LAUREN SHIRT; KVN SKIRT; ALEXANDER WANG SWEATPANTS; BEN SHERMAN SHOES.
LEFT: (N.M.) FCUK JUMPER; ALEXANDER WANG TOP AND SHORTS; (ALEXANDER) SAKS FIFTH AVENUE BLAZER; FCUK JUMPER; VALENTINO SHIRT; ALEXANDER WANG SWEATPANTS; (MARIA) JIL SANDER BLOUSE AND SKIRT; (NOLAN) SAKS FIFTH AVENUE OFF 5TH TURTLENECK; ALEXANDER WANG SHORTS. RIGHT: SAKS FIFTH AVENUE OFF 5TH HAT; VINCE SWEATER.
LEFT: DIANE VON FURSTENBERG DRESS. RIGHT; ALICE + OLIVIA FUR; FENDI DRESS.
LEFT: DIANE VON FURSTENBURG BLOUSE.
LEFT: (N.M.) MODEL’S OWN SWEATER; SAKS FIFTH AVENUE OFF 5TH SHORTS. RIGHT: (ALEXANDER) FCUK SWEATER; SAKS FIFTH AVENUE OFF 5TH TROUSERS; STACEY ADAMS SHOES; (NOLAN) VIVIENNE TAM SWEATER; STYLIST’S OWN BAG; (MARIA) CARMEN DRESS..
FASHION ROUND-UP BY JESSE HAMMERS
Viewing the SS13 collections, one thing is certain; minimalism is here to stay. From Paris to Milan, a majority of collections presented relaxed looks that were generally understated. While the collections were minimal, unexpected and wellneeded details provided a refined opulence as seen in the laser cut outs at Alexander Wang. Designers drew inspiration from Japanese culture. Kimono wraps and jackets were shown not only at Pucci, Etro, and Haider Ackermann, but featured almost exclusively at Prada. Each look featured traditional Japanese garb. Prada created kimono jackets, wrap skirts, and folded fabric details resembling origami. She even fashioned leather tabi socks, which were worn under platform sandals resembling geta, a traditional clog type sandal. Black and white was prevalent in many different collections. It may have been expected at Céline, The Row, and Alexander Wang, but it was also a driving force in the usually colorful collections of Balenciaga, Marc Jacobs, and Givenchy. While designers used a very similar color palette, each presented them in different ways. The Row and Givenchy presented very soft, monochrome looks, while Balenciaga and Marc Jacobs showed a tougher interpretation with the two colors offsetting each other. The entire Marc Jacobs collection featured stripes of various sizes and orientation. The use of the colors and fabric produced an interesting detail to an otherwise simple silhouette. Some designers showcased playful and almost childish elements. There were LEGO clutches and hula-hoop bags at Chanel, glow-inthe-dark outfits at Alexander Wang, and ruffle accents were prevalent in various collections. The more we saw the ruffles, the larger they grew. They started out small in New York, a barely visible frill down a lapel at Acne, to layers of silk wrap-
ping around the neckline and down the sleeves at Gucci, to a blouse comprised of what seems like neverending ruffles of fabric at Gareth Pugh. The loudest of the bunch came from Balenciaga. There were skirts that seemed to be made entirely of one giant ruffle. The white lining of the black skirts made a strong statement and showcased the waves even further. An even bigger wave came from the announcement that creative director, Nicolas Ghesquière, would be leaving the company after fifteen years. As disappointing at this news is, Ghesquière left on a great note and an incomparable showcase of work with the brand. Further showcasing the musical chairs, as many have called it, two shows were the talk of the town; Raf Simons’ first ready to wear collection for Dior, and Hedi Slimane’s first collection for the newly renamed Saint Laurent. Both chose to reference the past, but in very different ways. Simons created hourglass silhouettes that Dior is known for while Slimane designed billowing chiffon dresses with long sleeves that looked like they came straight from the 70s. Dior’s metallic organza pieces, creating the illusion of models aflame in an assortment of colors, were exceptionally beautiful. There is so much talent in the industry right now, and with so many changes being made, it’s exciting to watch it all unfold.
ALEXANDER WANG CHRISTIAN DIOR
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PRADA RICK OWENS BALENCIAGA
THE
STAFF
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