Tactical Museum. Tokyo

Bede Griffiths on Love

Art is Not Culture

Four perspectives by four people around the above line which I have been quite affected by recently.

1. Aldous Huxley writing in a 1963 essay titled 'Culture and the Individual'. :

" BETWEEN CULTURE and the individual the relationship is, and always has been, strangely ambivalent. We are at once the beneficiaries of our culture and its victims. Without culture, and without that precondition of all culture, language, man would be no more than another species of baboon. It is to language and culture that we owe our humanity.(......) Since human beings respond to symbols as promptly and unequivocally as they respond to the stimuli of unmediated experience, and since most of them naively believe that culture-hallowed words about things are as real as, or even realer than their perceptions of the things themselves, these outdated or intrinsically nonsensical notions do enormous harm. Thanks to the realistic ideas handed down by culture, mankind has survived and, in certain fields, progresses. But thanks to the pernicious nonsense drummed into every individual in the course of his acculturation, mankind, though surviving and progressing, has always been in trouble. History is the record, among other things, of the fantastic and generally fiendish tricks played upon itself by culture-maddened humanity. And the hideous game goes on...."

2. Terence McKenna from a talk given at St. John the Divine's Cathedral, Synod Hall, New York, April 25, 1996:

 

"Culture is not your friend, no matter what your culture is. And this is sort of not a Politically Correct thing to say, because in the present ambience, (sort of, those who haven't gotten the word) there's a lot of attention to recovering our ethnic roots and to expressing our unique ethnicity, and so forth and so on -- I think that's the beginning of understanding. But all terms that stress ethnicity are words applied to groups of people. Have you ever noticed that? Have you ever noticed that you're not a group of people, you're a person? So you may be "Jewish", you may be "Black", you may be this, you may be that but there is no obligation to take upon yourself the generalized quality of these things, because the generalized qualities belong to thousands of people examined at a time. If you misunderstand that you become a caricature. You act out your ethnicity as a caricature.
So culture is not your friend, ideology is not your friend... Who's your friend? Well, to my mind, the felt presence of immediate experience is the surest dimension, the surest guide that you can possibly have. The felt presence of immediate experience."

3. Julia Kristeva writing in Revolution in Poetic Language, trans. Margaret Waller (New York: Columbia UP, 1984).

"Finally, in the history of signifying systems and notably that of the arts, religion, and rites, there emerge, in retrospect, fragmentary phenomena which have been kept in the background or rapidly integrated into more communal signifying systems but point to the very process of signifiance. Magic, shamanism, esoterism, the carnival, and "incomprehensible" poetry all underscore the limits of socially useful discourse and attest to what it represses: the process that exceeds the subject and his communicative structures. But at what historical moment does social exchange tolerate or necessitate the manifestation of the signifying process in its "poetic" or "esoteric" form? Under what conditions does this "esoterism," in displacing the boundaries of socially established signifying practices, correspond to socioeconomic change, and, ultimately, even to revolution? And under what conditions does it remain a blind alley, a harmless bonus offered by a social order which uses this "esoterism" to expand, become flexible, and thrive?"

4. Jonathan Meese published a manifesto in the January/ February 2009 issue of Art Review magazine:

1. Art is Total Baby
2. Art is Total Joy
3. Art is Total Power (no human power)
4. Art is no Culture
5. Art is Total Humility
6. Art is Total Leadership
7. Art is no problem, Art needs no victims, Art needs no humans
8. Art is Total sweet Metabolism
9. Art is the only political party of the future
10. Art is no Ritual

Pataville, Pata

One of the first artists I worked with as a curator and a good friend, Guy Mayman, has a blog.

Its great.

Its made from his works.

Pataville

In a classic case of synchronicity, it so happens that my new blogging endeavor over at  ArtIt also uses the term 'Pata' in its title. Both Guy and myself seem to have traveled, quite independently, through the dreamland of Alfred Jarry and his Pataphysical College.

ArtIt Website

ArtIt Website has launched.

I am one of the many in-site bloggers.
Under the pseudonym 'PATA-PHYSIC PAST', I have decided to post a writing and museology project I have been pursuing for some years. It comprises found photographs, art and captions.

Hopefully updated weekly.

Yoroshiku,

In Preparation for Becoming Japanese 4: teaching tool

Another blog I keep.
A repository of nugget-sized phrases in Roma-ji for teaching, deliberating and general chat.

All Romanized English Japanese Nuggets for Compromising Philosophical Moments

Note: Most of the phrases are self-translated and far from perfect. Rather the phrases are used performatively in lectures and seminars, where they are one element within a broader conversational matrix.

Spirit Sound from Sun Ra in Japan, 1988

I have been re-reading, listening and watching all things related to Sun Ra recently.
A truly wondrous clip filmed in Japan in 1988 from YouTube:

SPACE: THIS WAY

From all kinds of angles, Ra and the Arkestra show us ways to live and work. From a curator's perspective I am particularly inspired by his statements concerning audiences. In 'Space is the Place' , there is a scene where Ra plays a piano in a cabaret, creating such an enormous sound that many people run out of the building, clutching their ears. I think the sound was a 'space chord', a huge resonating physical sound of all notes being played together. I read somewhere that Sun Ra liked the idea that people who could not cope with this sound were driven out, leaving only those who could tune into his intuitive celestial arkestra. He spoke at length about 'discipline', and I think that his ideas about audiences, and publics relate to this too. Spirit Sounds must be respected. It cannot be instrumentalized for profane purposes. There is little room for 'outreach' in the current museological sense of inclusion and enlightenment. The sounds come. It is up to each individual to tune in, assign antennae and hear the intergalactic chamber music echo!

12 Moons at AIT: Panpsychic Curating.

We have been organising a curating course at AIT since 2001. My team from last year's Curation Practice course orgnaised '12 Moons: Communicating with the Full Moon', an instruction art website and event based project.
You can read and realize the instructions here.

On the full moon of May 9, we organised the first event at AIT. Over 50 people came, 20 or so staying through the night until dawn. The curating team presented ideas behind the project including a survey of Rudolf Steiner's lunar thinking and a short history of instruction based art. A special guest also came, Yumikino san, who runs one of only two bio-dynamic farms in Japan (near Narita, Chiba). In between treating the earth with special elixirs of cow horn and planting seed according to lunar cycles, he renovates a beautiful old farmhouse which he hopes to eventually turn into a bio-dynamic center. We set up a bio-dynamic cafe, serving food and drinks made from this method.

At midnight we asked those present to collectively realize the instruction work of the Swedish artists IC98 . This was one of the most powerful moments of the night, transforming a room of thirty or so people into a space of silence and non-electricity.

We intend to continue adding instructions to the website and making further full moon events. As I wrote on the website introduction, the project conceives the full moon to be its principle audience. The Enlightenment equation of Artist Producer - Curator Mediator - Public Audience feels awkward and strained now. I propose that there are really no privileged knowledge perspectives, no place from where a curator or an artist can 'pass on' knowledge. We today all share the same hallucinations. The age is psychedelic. Laterally shifting the attention of our activities away from human audiences to a cosmic dimension is perhaps one way to probe our hallucinatory predicament. By doing so we may temporarily re-align ourselves away from what Felix Guattari refers to as 'Integrated World Capitalism', and be open to the felt experience of the body in Space.

Some pictures from the evening.

'Ninjas', Peter McDonald, 2008.

Small exhibition of moon related objects.


Yumikino san.


Realizing Tranquility Base in AIT Room, IC98 instruction.

Tsukimi-Udon served at dawn.

One of the key images for us in thinking about this project was Charles Duke's family photograph left on the surface of the moon during the Apollo 16 mission. The photograph is in a plastic bag and on it are written the words: 'This is the family of Astronaut Duke from Planet Earth. Landed on the Moon, April 1972.' An interesting essay on the moon photo can be read here. We thought about this as perhaps the first intentional curatorial gesture to be held outside the atmosphere of earth.

Antagonistic Aesthetics

There was an interesting article in today's International Herald Tribune about tourists in Kyoto sometimes crossing the lines of decency and manners to photograph Maiko and Geisha. It reminded me of the Tsukiji Fish Market badly behaved tourist episode in March of this year, when the market was closed for a limited period.

The Tribune piece closed with an astute observation by Yuji Nakanishi, professor of tourism at Rikkyo University, who said:

"Japanese tend to associate tourism with historical landmarks, but foreigners are interested in people’s lives and their lifestyles. Places like the fish market were never really considered a tourist site until quite recently, so both sides are really confused.”

These episodes reminded of Claire Bishop's critical essay (Download Claire Bishop, Antagonism and Relational Aesthetics pdf.) against Nicolas Bourriaud's relational aesthetics, published in October magazine Fall 2004. Leaning on the ideas of Laclau and Mouffe, Bishop argues that relationality is always underlined by antagonisms and schisms. Geisha-Hunters and Tuna-Harrasers mirror this sense of antagonistic relationality, highlighting the contradictions which underline global tourism between preserved 'local' traditions and free markets (Geisha were instruments for Japanese tourist marketing from the dawn of tourism in Japan. See Ihei Kimura's photographs for 'Travel in Japan' campaigns from the mid 1930s for example), as well as reminding us of the relative historical infancy of Japan's relations with the world. Accounts of early foreign visitors to Japan in the C17th, tell of the 'ill mannered' barbarian, a literary micro-genre which probably persists to this day.

Dutchmen with Courtesan, Nagasaki c1800.

Perry's Marines inspect a sumo wrestler, March 1854.

Immersion Course

It all began on Wednesday evening, April 1st.
Ryoji Ikeda at MOT is an exhibition for chromophobes, for Matrix Trilogy fans and white cube fetishists.

      

Some parts of the museum lobby had been renovated. The Nadiff run museum shop now finds itself in a new corner, polished.

The venerable Mr Johnnie Walker at the opening about to eat a bit of broccoli.

On to the regally colored 2nd edition of the 101 Tokyo Contemporary Art Fair at Akiba Square, Akihabara. Compared to last year the walls of the booths were noticably thicker. Amid the crowd, Fumio Nanjo of The Mori Museum and Agathe and Antonin , organisers of last year's fair.

   

Thursday, 2nd April, evening. Opening of Art Fair Tokyo at International Forum. I find art fairs incredibly difficult places to navigate, let alone see art. Taken by the current of the crowds, the experience is akin to white-water rafting.

    

Rather than use my own eyes, I discovered the pleasure of looking at things through the view-finder of my camera. I started to take pictures of the gathered high-priests - gallerists and dealers.

 

       

from left: Mr. Kodama of Kodama Gallery, Ms. Shimada of  Gallery Side 2,  Mr. Wako of Wako Works of Art, Mr. Shiraishi of SCAI The Bathhouse.

         

from left: Mr. Mitsuma of Mizuma Art Gallery, Misako of  Misako and Rosen, Mr. Koyama of Tomio Koyama Gallery, Jeffrey of Taka Ishii Gallery.

       

from left: Mr. Aoyama of Aoyama Meguro, Ms. Fujiki of  Mujinto Production, Ms. Urano of  ArataniUrano, Mr. Ikeuchi of Roentgenwerke.

 The Director of Art Fair Tokyo, Misa Shin.

Friday 3rd April, late afternoon, opening of The Kaleidoscopic Eye' at The Mori Art Museum.  A well installed, but somewhat cold exhibition of well known artists from a European aristocratic collection.

       

Klaus Weber's 2003 work, Public Fountain LSD Hall, made it for me. It is a small glass fountain, modelled on the fountains at The Great Exhibition of 1851 London, flowing with potentized LSD, which neutralizes its consciousness altering properties and makes it into a homeopathic remedy. While looking at it I was introduced by a museum patron to a former Minister for Education in Japan, a moment of magical synchronicity.

I went back to the 101 Art Fair to hear their first panel discussion, on the impossible but always welcome topic 'What is contemporary art and what is not?'. Moderated by Andrew Maerkle, formerly of Art Asia Pacific magazine, but now living in Tokyo, it furnished some interesting points. The panel consisted of:

          

from left: Andrew Maerkle, Jeffrey Rosen (Taka Ishii Gallery), Shihoko Iida (Tokyo Opera City Art Gallery) Junya Sato (Boice Planning) ,

 

Haruka Ito (Magical Art Room) , Satoshi Okada (collector).

Two things in particular remained with me. Jeffrey spoke of contemporary art in Japan as in its infancy, and therefore having a sense of immediacy, which I thought usefully captured a prevalent mood current here now. I understood immediacy as coming across in certain naive styles, the often seen blurred effects in painting, Micropop tendencies and the neo-Gutai/Dada performance of artists like Ichiro Endo who I have written about here before.

The issue of history and discourse building was inevitably raised. The interesting point about the ongoing emergence of art movements in Japan since the late 1990s offered a counter-trajectory to European/ N. American histories. It does seem both odd and somewhat natural that movements should become one of the main vehicles through which micro histories are charted and 'written' - Superflat, Micropop, Shibuya-kei, Showa 40 nen kai etc. 

Saturday 4th April, AIT resident artist from Finland, Meri Nikula led a body/ voice workshop for a dozen people which I attended. It was the best thing in the entire bonanza art weekend. Beginning with various meditation and warming up exercises, Meri got us grunting and chanting, stumbling around the room with our eyes closed and generally sounding very much like those apes that appear in the first twenty minutes of Kubrick's Space Odyssey 2001.

        

Refreshed and 'aped' up, I walked to openings at various galleries in the Shirogane art complex. Kodama Gallery was showing wall drawings by Olaf Breuning, including this funny parody of a Murakami image.

Nanzuka Underground was showing fetishistic tribal masks by Akiyoshi Mishima. 

  

Yamamoto Gendai looked like an extension of Gunter von Hagen's  Body Worlds exhibition of flayed human corpses which has toured the globe recently. The works were by Motohiko Odani.

               

On the upper floors were new galleries selling ancient Buddhist art and relics. Black limousines and ambassador's cars lined the street outside.

                                                    

Sunday, April 5th. I was invited by O.F.F., the Oosutoria Freespace Foundation, to an informal meeting with other alternative art space people. Begun by Georg Russegger and Elsy Lahner, they currently live and make projects from an apartment in Bashamichi, Yokohama. We talked about the problems and complexities of creative city policies in Japan today, about international cooperation and the relative inflexibility of cultural policy and frameworks in Japan which tends to be bound by strict codes and modes of operating.

    

O.F.F. space, Hitomi Hasegawa of MIACA, and Takahiro Kaneshima of  Far East Contemporaries.

 

Georg, Elsy.

The long weekend reminded me that art spans a constantly self-transforming spectrum of experiences, from classical museum or gallery based displays, the disorientation and high of the commercial art fair, opening parties, public discussions and talks, tiny encounters while wandering through galleries, the intensity of participating in workshops, drinking and eating with artists and colleagues, and the sense of depth and friendship one finds in small gatherings. Writing this at my desk, I find myself alone again but strangely filled with images and memories.

One Question Interview

AIT artist in resident Rafael Rozendaal asked me a question.

"What will happen in 2012?".

He asked me this because I am currently following this cultural phenomenon and preparing a little project related to it which should be revealed on the internet at the end of this year.

One Question Interview

In Preparation for Becoming Japanese 3

C.W. Nicol . Born Wales, Citizen of Japan.

Became Japanese via the Martial Arts and spiritual discipline.

...and through environmental activism in Japan.

Afan Trust, a woodland in Nagano prefecture revived to its indigenous natural ecology by Nicol and co. (website in Japanese only).

More Here.

Vanish Objects

Void: Retrospective

 

Matsuzawa Yutaka

[the above text, ripped off from Mr. Robert Barry]

Ambient Atmospheric Archaeology

On my walk to AIT this morning I stopped to take this image of a shop display window in Atre, Ebisu station.

'Primitive Air' somehow made me stop. As I walked the remaining way to AIT I pondered what this term could mean, mulling over various references. I began to wonder if there is a study of atmosphere within the fields of archaeology or paleontology, the study of what the air was like long ago. A quick Wikipedia search rooted out a field called Atmospheric Chemistry , a multidisciplinary field that studies the earth's atmosphere and its relations to human habitation etc. There was a useful diagram there:

The closest episode I could think of which veered towards what one could plausibly call an atmospheric archaeology was the discovery of the tomb of Tutankhamun in 1922 by Howard Carter. Also known as the possible moment when the 'Curse of Tutankhamun' was liberated, it it noted how Carter and his team made a small hole in the outer wall of the Burial Chamber to peer inside, allowing an atmosphere which may have been essentially preserved for millenia to escape. What did it smell like?

On the art historical front Marcel Duchamp's 50cc glass vial of Parisian air made originally in 1919, but reproduced in 1939 for the image below, must be duly acknowledged.

Another work in a similar vein, though rather more immaterial, is perhaps Tom Friedman's cursed plinth where he asked a witch to curse the atmosphere above a single white plinth on which nothing is placed.

'Primitive Air' seems interesting because it allows us to ponder something intangible, but very self-evidently real and necessary to our survival. It couples the term Primitivism, which has largely been related to a powerfully material history of appropriation, colonialism and so on, with a term that moves into the domain of ambience and atmospheres. Perhaps the dance floor has been one of the more atmosphere-centric cultural spaces of the last 100 years, spaces essentially transcribed by bodies in motion, recorded sounds and the carefully programmed music of the host.
The final photograph below shows a dust storm about to engulf a little town in Texas in 1935. It reminded me of the images of the tidal wave of dust which swept across New York city after the collapse of the Twin Towers in 2001.

In Preparation for Becoming Japanese 2.

Lafcadio Hearn - Koizumi Yakumo.




Hearn - an early Creole Studies Scholar?

In Preparation for Becoming Japanese 1.

Young William Adams in London.

Typical Jacobean era gentleman's fashion.

Pilot William Adams.

William Adams letter to East India Company from Japan, 1613.


Blackthorne's character, based on William Adams.

ArtIt, BT and Circumspection

The latest issues of BT and ArtIt both concern themselves with what Arthur Danto famously described as 'The Art World' (1964). BT has devoted its issue to a detailed analysis and easy to follow guide to the art world as a place of employment and professional career development. In its now familiar 'One-Step Guide To' format, BT interviews artists, gallerists, shop assistants, technicians and a host of other workers, mapping it all out in diagrams and charts. AIT were asked to contribute a section on how we saw the art world functioning in Japan, written by Keisuke and myself. If memory serves me correctly, BT has made several similar issues in the past, and I have also seen various other magazines cover similar territory. Does this interest in the mechanisms of the art world reflect a depressed economic situation, and a strange desire to get back to 'real', labor-related topics? The irony, as anyone who has spent a little time in the Japanese art scene will know, is that there are actually few opportunities in the Japanese art world which offer some semblance of stable employment.
ArtIt has devoted its latest issue to the issue of curating. It remains rather predictably tied to classical museum-centric notions of curating as well as reflecting a very Tokyo-centric view. I was chosen as one of 'Six Young Japanese Curators To Watch', alongside colleagues including Fumihiko Sumitomo, Mizuki Endo and Shihoko Iida. Coincidentally AIT is now organizing a one day symposium on 'Post-Exhibition Curating' practices on Feb 21st, which seeks to question Harald Szeemann's well known definition of the curator as an 'exhibition-maker'. I have invited four curators under forty based in Japan to present papers on non-exhibition practices, including Sumitomo's Oral Archive History Project, Endo's itinerant place-making practices, Shinichi Hanada's community-based projects in Fukuoka and Kyongfa Che's critical re-framings of international exchange projects. I will present a paper titled 'Dance Foors: Energizing People', a theoretical probe linking early disco spaces with histories of expansive art performance and installation. It will be held in Japanese only. It is free and supported by the Ishibashi Foundation. We sent out e-mails 2 days ago, and it is almost fully booked. AIT website

Finally, an apologetic word on the appalling rate of posts - the one excuse I can forward is that I am now in the final stages of my 'Kika' (citizenship change), and thus have been somewhat circumspect in what I post etc. The Ministry of Home Affairs is now reveiwing my application, and I suppose I have been cautious about things generally. If all goes smoothly, I should get a call from them sometime in mid to late February, instructing me to renounce my British citizenship and become Japanese. Although I dont feel particularly nervous, I think that there has been some psychological stress. I had a strange one week dizzy spell from January 1 to 8, which, after seeing the doctor, I concluded must be stress induced. It has now thankfully subsided. In preparation for this change I have also been updating my old UK paper driving licence in order to convert it to a Japanese one. The State is a strange creature - although at the cellular level I straddle both countries, that unique C19th invention/ hallucination - the sovereign nation state - erases the body in favour of Symbol. I must stop before I say too much..

Rip Off

Kato Shuichi

I watched a great documentary last night on NHK about the recently deceased Japanese writer and critic Shuichi Kato. Kato wrote a book called 'Kotoba to Sensha' (Words and Tanks), which traced his thoughts on living through the events of 1968 when he was living in Vienna, and particularly his experiences of visiting Prague just prior to the Soviet invasion. The documentary was shot in July this year, and he appeared a fragile but highly articulate voice for critical reflection on Japan's post-war condition. Speaking about the students protests in Japan in 1968 he commented that the significance of those times was that students identified and attempted to question the growing influence of the Military-Industrial-Academic Complex (Gun-san), after it became known that major universities such as Tokyo University were receiving donations from the American military, while bombs fell in Vietnam. For this, they should be proud said Kato. Kato often said that 1968 has not ended, in the sense that we continue to live through similar conditions as then.
A key phrase which Kato repeated was 'Heisoku kan' -  a sense of weariness, tiredness, hopelessness - which he feels permeates developed societies deeply to this day. It was against this sensibility that he identifies the student, worker and cultural revolts of the 1960s as proposing a radical change of life and society - 'seikatsu wo kaeru!'. Kato seemed to be a humanist and socialist to the end. He railed against the de-humanizing effects of a systematized society and went so far as saying that the history of Japan post Meiji was in fact also a history of de-individuation and of de-human-ness (hi-kojin ka/ hi-ningen ka). He urged for the urgency and continued relevance of 'shisoh' - philosophy and critical thinking - saying that this had two fundamental aspects: first, the writing, checking and confirming of facts against history and the past, and secondly, asking What To Do?, which generates the richness of creative and utopian thinking. He ended by saying that we needed to re-energize a sense of being human into the world again: 'Ningen rashisa wo sekai ni mou ikkai saisei suru'.

Shuichi Kato - 19 September 1919 - 5 December 2008

Very brief bio in Wikipedia.

Books, Books, Books and Beans

  Yesterday I had a two hour 'Taidan' (dialogue/ conversation) with the artist Takafumi Hara , for his forthcoming monograph published by the micro self publisher WHO. We sat in the Holy cafe in back street Daikanyama with the editor Sugihara san and talked. We then walked up to Saigoyama Koen, a small hillock park overlooking Nakameguro to be photographed. WHO have thus far self published three artists books. Each edition is wholly conceived, designed, photographed, printed and bound by one person, and sold in small editions at Nadiff or other specialist bookstores. Hara san's book is due out in late January.

Last week I had another 'Taidan' with two editors from the famous post 1968 art publishers FilmArt. We sat, in true Showa writers style, on chairs inside a Renoir Cafe (the original salon style Japanese cafe repleat with sofas and smoking salaymen pre Starbucks, Dotour) in Yotsuya. This talk was interesting in that it was my contribution to a new anthology being published in February about curatorial practice in Japan. As I cannot write in Japanese but speak it fluently, the publishers decided to meet with me and record our conversation, which they very kindly transcribed into a text. I have 'written' for three little sections in the book: on the internet and new media and curating, on club culture and art practice and on how we call art art. I think it will be one of the first and only books to be published in Japan which looks into issues of recent curatorial practice and thinking from a Japanese perspective.

And finally, the day before yesterday I was e-mailed by the bi-lingual art magazine ArtIt and notified of my inclusion in their January/February issue on...you guessed...curating. The Japanese only BT magazine is also strangely doing a 'Work in the Art World' issue early next year.

I am not sure of the reasons for this sudden interest in curatorial practice. Perhaps with the economy in recession, editors have finally reached the bottom of their pile of ideas for issues....the last three years of the art boom here has seen popular magazines such as Brutus cover everything from art museum architecture, art collecting, artists studios and international exhibitions. As the economy dips the perceived glamour of such topics perhaps fades, to be replaced by another kind of spectacle in focusing on individuals who are perceived to be connoisseurs, forecasting and assuring people that art will be OK, whatever the state of the economy. Thinking about this in a more positive way, I do think that such issues can perhaps raise more questions than answers and confuse the usually simplified formations in which art is presented in magazines etc. At least ArtIt are talking to a number of curators, hopefully collating a multitude of perspectves and voices on the issue.

Finally, my friend Jeremy Gilbert has just had his new book published called:
AntiCapitalism and Culture
Jem teaches at the University of East London, and has previously co-authored the great book Discographies, Dance Music, Culture and the Politics of Sound which I highly recommend.
Congratulations Jeremy!

That`s me in the photo above cooking chilli beans for forty people two weeks ago, just prior to AIT's Green Practice Project, where I was 'curator in charge' of the cafe.

Music Program, Super Deluxe Nov 15, 2008

Program of my set at Super Deluxe Tokyo, Saturday November 15, 2008.

OZO, Anambra
Unknown folk song
Invisible Conga People, Cable Dazed
Sun Ra, Brazilian Sun
Steve Reich and Pat Methany, Electric Counterpoint
Godamn Electric Bill, Lost in the Zoo
Talking Heads, This Must be the Place
Findlay Brown, Promised Land
Manu Dibango, Soul Makossa
Gabor Szabo, Gypsy Queen
Fleetwood Mac, Sisters of the Moon
Charlie Dark & Roger Robinson, Prayers for Angry Young Men
Pattie LaBelle, The Spirits In It
Eden Ahbez, Eden's Island
Mystic Force, Clearlight (Psychic Harmony)
Orbital, Belfast
My Bloody Valentine, Soon
You Are My Sunshine, 1950s version
Fairport Convention, Farewell, Farewell

Many thanks to those kind folks who came up to me and said how much they enjoyed it.