now to begin thinking about "sacredness" and "purity" -- appropriate this anniersary year for the first edition of TECHNICANS OF THE SACRED, eh? written by a person named Catherine = katharos = pure? i.e., some things I DO spend a lot of time thinking and knowing about

a) the sociological/anthropoligical work done by the author of the edge article was purportedly done in India. where I did mine! I would suggest that subcontinental purity vs. pollution is quite different from greek catharsis, purgation, purity. subcontinental purity vs. pollution issues then encoded in things like the caste system and religious practices are, well, yes, originally a lot about poo and things like that; they have a lot in common with leviticus / kosher laws. if you eat with your hands and wipe poo with your hands, you probably designate one hand for the food, and another hand for the processed food. and you probably designate your dominant hand for the food. and so the other hand is probably the polluted, or bad hand. and it is probably a pretty sticky wicket to be a southpaw in such a society. but, other than a sort of wasp-y "nocd" series of attitudes that political conservatives who are wealthy are very good at manipulating, and political conservatives who are not wealthy are very manipulated by, I would suggest that catharsis is about emotional purgation and communication. something that prepares one to encounter a western sacred through ritual, or an inner eastern sacred state. not about poo.

> But if Durkheim is right, then sacredness is really about society and its collective concerns. God is useful but not necessary. The Democrats could close much of the gap if they simply learned to see society not just as a collection of individuals—each with a panoply of rights--but as an entity in itself, an entity that needs some tending and caring. Our national motto is e pluribus unum ("from many, one"). Whenever Democrats support policies that weaken the integrity and identity of the collective (such as multiculturalism, bilingualism, and immigration), they show that they care more about pluribus than unum. They widen the sacredness gap.

this seems utterly hollow to me; how does inclusiveness weaken the collective? it forms it. what is a collective but an entity made of a collection? warning to psychologists: take some Literature courses, already. our national motto is about many STATES, one NATION, not "some of the people who happen to be living here, who are united by a set of religious beliefs"

> Sanctity does not have to come from God; the psychology of this system is about overcoming our lower, grasping, carnal selves in order to live in a way that is higher, nobler, and more spiritual.

This is SUCH a strange notion.

WHAT IF mind and body aren't separate? WHAT IF we all have one life to live and nothing follows? Doesn't that throw off little sparks of, "well, maybe then shafting people of different sexual orientation or body type or nationality or religion is REALLY REALLY WRONG"? Unfortunately, for many who firmly believe first that the rapture is coming and mind and body are separate, what can even in the imagination replace heaven is not only mortal fear and fear of mortality, but also the fear of complete suspension of ethics and "selfishness"(not a la Rand or Nietsche) of "the enemy" Hitler, the great satan, the serial killer, and the unbelievable pressure and responsibility one must assume. I mean, wow, what if "they won't get theirs" and a little prayer won't make it better, and handing it over to a higher power is just a mind fuck? well, then we had better have a sense of the sacredness of the collective and the value of the individual. In other words, the politics of fear -- if the liberals want to do that, which I think is pretty crappy, but -- can be based on the fear of no god just as it can be based upon fear of god and disdain of the godless.



A Durkheimian society would value self-control over self-expression, duty over rights, and loyalty to one's groups over concerns for outgroups.

A Durkheimian ethos can't be supported by the two moral foundations that hold up a Millian society (harm/care and fairness/reciprocity). My recent research shows that social conservatives do indeed rely upon those two foundations, but they also value virtues related to three additional psychological systems: ingroup/loyalty (involving mechanisms that evolved during the long human history of tribalism), authority/respect (involving ancient primate mechanisms for managing social rank, tempered by the obligation of superiors to protect and provide for subordinates), and purity/sanctity (a relatively new part of the moral mind, related to the evolution of disgust, that makes us see carnality as degrading and renunciation as noble).

This is a quote from the edge.com, and, frankly, I have a problem with the categories, *especially* the last three, which I expect any more educated respondant might, and which I suspect may be skewing the results: harm/care are opposites; fairness/reciprocity are complimentary (both related to equality) but are not antonyms or synonyms; ingroup/loyalty are related, but "ingroup" has negative connotations, since it implies exclusion, while loyalty comes in all flavors; authority/respect is a truly odd coupling, but the explanation seems to indicate that what is really intended is "respect for authority / responsibly acquitting duties"; purity/sanctity are another odd pair, and I frankly don't have a handle on how they are trying to make "sanctity" operate as a category.

So, I think they're really misunderstanding Durkheim here. Or maybe I am; I dunno much about that Durkheim lad. Mill is about protection, service, and equality; is Durkheim about loyalty in exchange for protection, respect reinforcing equality, and responsibility derived from service PLUS? Putting "sanctity" aside again, I think it is plain to see how these pretty common values have been exploited. We have been protected from problems we created in order to have our loyalty policed; we have been asked not to respect others because they are equals, but because they are superiors (mostly through this manipulation of authority); and no responsibility or assumption of true duty or service has occurred.

If Durkheim is about "ingroup, authority, purity" then, well, yeah, that's pretty objectionable stuff. Exclusion, hierarchy, and -- there again, purity, I'm not ready to touch that yet -- that's pretty unAmerican stuff.

All of this makes me think of the odor of sanctity that accompanied some sainted individuals -- individuals made saints, exemplars, ideational intercessors to more difficult and complex moral truths. No one knows if a person is pure or holy except by that person's actions or other outward signs, where language is a sign, not a statement, like "I am good with God," but "I think thus and thus and thus," and we judge that.

Another tactic is: this seems to be a gross misunderstanding of how american protestantism has historically worked. Now, I am willing to concede that this is not a primary area of my expertise, and that it seems to be operating differently than formerly. However -- a stab at it -- the ability of believers to have a direct communication with god, rather than one mediated by a church, is a founding principle of most protestantisms, no? and we have seen one of our vp candidates SHOP for religion by moving from church - mediated religion (roman catholicism) to direct emotional relationship with god (pentacostal) to direct literal (no interpreation necessary) reading of "god's text" (bible church).


The Ups & Downs
At Betalevel
September 2008 – May 2009

The Ups & Downs is an installation series. The show goes up, the show goes down. Opening party on Thursday night and closing party the next night, on Friday. No time for exhibitions. Low impact, ephemeral and immersive art. People with lots of People. The market. It’s a party. Time for the underground. It’s a ball. It’s for The People. This has been made for you. Do I know you? The show must go on. Installed and De-installed. Up. Down. Now what? Now then…

The Ups & Downs is:

Pablo N. Molina
Thursday, September 25, 2008, from 7 p.m. to 10 p.m.
Friday, September 26, 2008, from 7 p.m. to 10 p.m.

Continuing an exploration of human-media interaction, Pablo N. Molina’s newest work uses digital projection and custom software to create a dynamic spatialized interface where human movement is processed and extended. An immersive and responsive video display and digital sensory framework will track both presence and movement to produce an intricate and reactive environment. Meaningful conversations between human stimuli and data processing are temporarily registered as visual and auditory output. Viewers should feel free to explore and discover new modes of action and reaction. The purposely open-ended coding framework allows for completely unexpected, though never random, modes of feedback.

Pablo N. Molina is a Los Angeles and New York City based video, lighting and sound artist. His work has appeared in several galleries and numerous theatrical, music and dance performances including pieces by Carl Hancock Rux, Neil Denari, Karin Coonrod, Bebe Miller, Aimee Michelle, Lars Jan, Mira Kingsley, Sam Gold, Chi-wang Yang, Benny Sato Ambush, Cloud Eye Control, Rachel Boggia and High Jinks Dance Co. His digitally generated video content was prominently featured in Linkin Park’s recent Projekt Revolution world tour. He is currently collaborating with MODE Studios in Seattle to develop a large scale interactive video and sound installation commissioned by a prominent Fortune 500 company. Pablo teaches video design and programming at CalArts.

Marcus Civin and Candice Lin
Thursday, October 23, 2008, from 7 p.m. to 10 p.m.
Friday, October 24, 2008, from 10 p.m. to 1 a.m.

When the wind got too rough, and the ship was pitching, sailors took an axe to the mast, so the lighting wouldn't catch. We were at the top, in the crow's nest, tangled in the nets and in the tatters of the sails. When it was all over, we climbed out and found we had washed upon a beach of graphite sand. Shipwreck! Enormous Crow's Nest built to reach the ceiling, stuck in and consuming the underground space at Betalevel.

Candice Lin and Marcus Civin both attended Brown University at the same time but never really met there. They both lived in San Francisco but never met there, though they had friends in common. A mutual friend, Maggie Foster, encouraged them to meet up in LA. As a result, they have been exchanging ideas for the last 2 years. Candice is planning an exhibition for Chung King Projects. Marcus is almost finished his MFA in Studio Art at University of California, Irvine.

Dan Richert
Thursday, November 13, 2008, from 7 p.m. to 10 p.m.
Friday, November 14, 2008, from 7 p.m. to 10 p.m.

*sc3gzr* is an interactive gamepad-controlled text stream filter designed around pattern-based text filtering functionality similar to that found in the UNIX tools grep and sed. Filtering patterns are determined by control messages sent from the gamepad. *sc3gzr* is an experiment in non-linear text presentation.

Dan Richert is a programmer and digital artist. His work primarily focuses on computerized text and audio generation, recombination and breakage.

Danielle Adair
January 2009

Danielle Adair’s work utilizes performance, video, sound, text, and multi-media installation to address current events in phenomenological ways. By realizing work through different forms, she aims to avoid any particular narrative trajectory, and to, in turn, heighten sensitivity to one's social and theatrical surroundings. The subject matter of her recent projects include mental illness within current diagnostic understanding, systems of education, and wartime experience.

Danielle Adair is an interdisciplinary artist based in Los Angeles. Most recently she has performed and/or exhibited work at The Museum of Contemporary Art - Los Angeles, the Roy and Edna Disney CalArts Theater, UC Santa Cruz, Beyond Baroque, and Track 16 Gallery. Currently she is at work on a performance-essay based on one female soldier's experience while stationed in Bagram, Afghanistan.

Bari Zipperstein
February 2009

Bari Ziperstein’s artistic practice is engaged with the architectural history of Los Angeles by drawing attention to the way built environments are designed – both as architectural and as aspirational consumerist constructs. Her site-specific sculptures, collages, and photographs challenge viewers to discern the familiar from the strange, and to question the attachments – be they psychological, economic or emotional – that consumers tend to project onto spaces and the objects that decorate and adorn them.

Bari Ziperstein, who lives and works in Los Angeles, is a site-specific sculptor, photographer and collage artist. Ziperstein holds her MFA from CalArts and double majored at Ohio University to receive a BFA in painting and a Women’s Studies Degree. Exhibiting and reviewed internationally, Bank - Los Angeles - currently provides Ziperstein with representation. To view Ziperstein’s complete work visit: www.bariziperstein.com

March 2009

"Skullphone" is an artist who works anonymously in city streets and deserted highways, incorporating his artwork into the urban environment. While ten foot tall posters loom high above building walls, small supporting incarnations blend into utilitarian spaces including gas stations, public bathrooms, parking meters, roll-up gates, and trash dumpsters—the unique platforms and non-blank canvases from which Skullphone "speaks".
Skullphone's monochrome pieces revolve around the central image of a skull holding a mobile phone, and usually take the form of classic wheat-pasted posters. Interpretations reflect modern fears about phone radiation and technology, and at the same time the image says something wider about the darker side of consumerism and the commodification of life.

Liz Glynn
April 2009
Trash predicates revolution.
Ruin leads to rebirth.

Liz Glynn's practice seeks to embody dynamic cycles of growth and decay. Through a production process which combines transformative recycling with traditional sculpture techniques, she creates objects which are fragile, temporal, and cannot cheat death like the mythologized museum artifact. For The Ups and Downs, Liz will present a new series of actions which consider the relationship between garbage and revolution in the twenty-first century.

Liz Glynn uses objects and actions to explore the ambition of empire and the pleasure of ruin. Recent works include the 24 Hour Roman Reconstruction Project at Machine Project, and the In the Beginning is the End, a Processional for Los Angeles in Chinatown. Her work has been presented at venues including Acuna-Hansen Gallery (LA), John Connolly Presents (NYC), and will be included in an upcoming project at LACMA. She has attended residencies at the Atlantic Center for the Arts, Vermont Studio Center, and soon will travel to O'artoteca in Milan. Reviews of her work have been published in Art Lies and the Los Angeles Times.


well, the 28 ft ladder is still at Phantom Galleries, but the LAAG show is down;

here are the poems from the LA XPress text object (rug); I think mine are inthe archive here?

My Beautiful Doormat
C. Parducci

Newsprint, tightly rolled and strung together to make a mat of some kind. Too big to be a placemat -- it'smore like an area rug or a doormat. A beautiful doormat -- the kind you feel bad wiping your shoes on.


Adult Say
E. Montgomery

Sensual Massage, Private Sipping
and hot dimes.
It's about you sexy girl
Try credit
Try Sable
Try Maria


Somber Sauce

Sweet surrender down sunshine alley ways leading to the glittering concrete bush that never ends. The liquid engulfs my ankles while...


Pragmatic, functional
Plcemat, Rug for life
reality stands behind
Picks up the scraps
is never read
But supports us.


Hot Body was a guy in West Hollywood in for illegal purposes.



Vamo Boquita Carajo



West Hollywood - Santa Monica (Sta.) Bl.
Abby, Specialities

Perfect Body


Paper Boy in a Small World
Paper Boy

Sometime you've got to make a delivery.


Banbo Blind

lightweight Disposal for practical purpose



West Hollywood Specialties


West Holly An

Lets relax, SF lucky M
with news specialties, .



Live the Journey
For every doorway is
a Destination to
the Other.


Message to Yuppies

Leave Downtown?


[korean text I don't know how to transcribe, but which is, not doubt, in the LA XPress text object]



News Rolls

names ad ties.


World News

Valley Hot Body, Nice + Clean
Exciting Specialties


Put This on a Table

Cynthia was A Guy
Norn in Lebanon
Independent Asian Sweetie

I really love my husband's fiction. Links to it @