Nicholas Monsour is an artist and film editor born and raised in Los Angeles.

PLAYLIST 07: SUMMER
SEARCH
INDEX

NICHOLAS MONSOUR'S WEBLOG

Monday
Dec062010

A bit of Kantor, 20 years on

 

Tadeusz Kantor (6 April 1915 – 8 December 1990) was a Polish painter, assemblage artist, set designer and theatre director.  His work and his writing about his work is what first sparked a real interest in theater for me, as well as an understanding that there are no limits to the transformative power of live performance.

I want to state openly that
this need to create theater
and visual arts
that would be   d i f f e r e n t
from the reality of political terror and
of police vigilance
was grounded neither
in a moral obligation
to create
a   R e s i s t a n c e   M o v e m e n t ,
nor in feelings of   p a t r i o t i s m ,
nor in the   h e r o i s m   of the underground movement.
I do believe that this process of
creating a   d i f f e r e n t ,
o t h e r
reality whose freedom is not
bound by any laws of any system of life,
or the act itself, which is like a demiurge's act
or a dream
is the aim of art.
I keep stubbornly repeating this thought
because I am suspicious that
in the epoch of "the Springtime of the Masses,"
and of the fight for political and economic freedom,
this notion of
the biggest freedom
that is demanded by
a   r   t
will not be understood,
or will even be deemed unnecessary...
Freedom in art
is a gift neither from
the politicians
nor from the authorities.
Freedom exists inside us.
We have to fight for freedom
within ourselves,
in our most intimate interior,
in our solitude,
in our suffering.

— Tadeusz Kantor, 1990 (translated by Michal Kobialka)

Wednesday
Dec012010

DROP THE I-WORD

Drop the I-Word is a campaign to expose the racist impacts of referring to immigrants as "illegals." This i-word is a damaging term that divides and dehumanizes communities and is used to discriminate against immigrants and people of color. The i-word is shorthand for illegal alien, illegal immigrant and other harmful racially charged terms. The campaign’s goal is to eliminate this terminology from popular usage and public discourse. Visit droptheiword.com to learn more and take the pledge.

Thursday
Nov252010

THE FREE MARKET

Images taken from the free items section of Craigslist.

Friday
Nov192010

Dia de los Muertos, Los Angeles, 2010

 

A single shot I recorded of the procession on Olvera Street on 10/29/10.

Friday
Nov122010

Medical Choreography, part 2

Romberg's Test

Co-ordination


Romberg's test
or the Romberg maneuver is a test used by doctors in a neurological examination, and also as a test for drunken driving. The exam is based on the premise that a person requires at least two of the three following senses to maintain balance while standing: proprioception (the ability to know one's body in space), sensation (the ability to feel touch, pressure, or vibration -- e.g., to feel one's feet against the ground), and vision (which can be used to monitor changes in balance). A patient who has a problem with proprioception can still maintain balance by using sensation and vision. In the Romberg test, the patient is stood up and asked to close his eyes. A loss of balance is interpreted as a positive Romberg sign. (Wikipedia)

Wednesday
Nov102010

I often have dreams like this

Saturday
Oct092010

Noam Chomsky: The Unipolar Moment and the Culture of Imperialism

 

 

I'm a year late, but I've finally found this and watched it — a few times.  In this lecture — one of a series held annually in honor of Edward Said — Chomsky clearly contextualizes the Obama administration's foreign policy within the recorded and verified history of Imperialism.  He lucidly displays the direct historical relationships between the Berlin Wall and the Wall of Annexation in Palestine, the genocide of Native Americans and all other genocides that have resulted from Western expansionism.  This is not new ground for Chomsky, but it is as succinct and yet far reaching as any single talk of his I've heard, seen or read. 

I cannot say that I find Chomsky's analysis entirely satisfying, but his scholarship and rhetorical precision are as always unreproachable.  I have never found his theoretical assumptions or conclusions to be entirely coherent or providing an understanding of how Imperialist, racist and genocidal worldviews emerge or how they cohere with the philosophical, economic or wider cultural systems and situations in which they flourish and take root.  Where I find a failure of imagination (empathy) arising from an automatic, inhuman conspiracy of intentional, human forces, he seems to only find a failure of a type of human being.  Whether his ultimatum—to be either an Imperialist or a Libertarian—is a genuine existential condition he experiences or a rhetorical strategy aimed at instigating a crisis of the Imperialist imagination, I cannot say, but the scholarly and analytical tools he virtuostically demonstrates are of value to any emancipatory movement.  I do not — I cannot — stomach the dismissal of his work by the Maoist and Sparticist intellectual left as lacking or even contradictory to dialectical materialist critique and revolution.  His dedication to emancipatory theory, and his involvement in the real struggles of colonized, oppressed and dispossessed, in any honest estimation, puts the radical academic left to shame. 

The dismissal or simple ignoring of his work in mass culture is not worth explaining — he himself has done it better than I or any one else could via the Propaganda Model.  There is more to say there in terms of the human mind and imagination — as David Edwards and others have attempted to do — but I suspect that in careful analysis of this and other works of his, such levels of interpretation will be possible and fruitful for the indefinite period of struggle ahead.  The ongoing dialogue between the ideas of Chomsky and Said is certainly one such avenue. 

 

Friday
Oct082010

PLAYLIST 04: AUTUMN

Marcel Duchamp was a French artist whose work is most often associated with the Dadaist and Surrealist movements. Duchamp's output influenced the development of post-World War I Western art. He advised modern art collectors, such as Peggy Guggenheim and other prominent figures, thereby helping to shape the tastes of Western art during this period.Duchamp’s first musical work, Erratum Musical, is a score for three voices derived from the chance procedure. During a New Year’s visit in Rouen in 1913, he composed this vocal piece with his two sisters, Yvonne and Magdeleine, both musicians. They randomly picked up twenty-five notes from a hat ranging from F below middle C up to high F. The notes then were recorded in the score according to the sequence of the drawing. The three vocal parts of Erratum Musical are marked in sequence as "Yvonne," "Magdeleine" and "Marcel." (Duchamp replaced the highest notes with the lower ones in order to make the piece singable for a male voice.) The words that accompanied the music were from a dictionary’s definition of "imprimer" - Faire une empreinte; marquer des traits; une figure sur une surface; imprimer un scau sur cire (To make an imprint; mark with lines; a figure on a surface; impress a seal in wax). Duchamp’s first musical work, Erratum Musical, is a score for three voices derived from the chance procedure. During a New Year’s visit in Rouen in 1913, he composed this vocal piece with his two sisters, Yvonne and Magdeleine, both musicians. They randomly picked up twenty-five notes from a hat ranging from F below middle C up to high F. The notes then were recorded in the score according to the sequence of the drawing. The three vocal parts of Erratum Musical are marked in sequence as "Yvonne," "Magdeleine" and "Marcel." (Duchamp replaced the highest notes with the lower ones in order to make the piece singable for a male voice.) The words that accompanied the music were from a dictionary’s definition of "imprimer" - Faire une empreinte; marquer des traits; une figure sur une surface; imprimer un scau sur cire (To make an imprint; mark with lines; a figure on a surface; impress a seal in wax).

Thea Musgrave is a Scottish composer of opera and classical music. Rich and powerful musical language and a strong sense of drama have made Scottish-American composer Thea Musgrave one of the most respected and exciting contemporary composers in the Western world.  Her compositions were first performed under the auspices of the British Broadcasting Corporation and at the Edinburgh International Festival. As a result her works have been widely performed in Britain, Europe and the USA, and at the major music festivals, such as Edinburgh, Warsaw Autumn, Florence Maggio Musicale, Venice Biennale, Aldeburgh, Cheltenham and Zagreb; on most of the European and American broadcasting stations; and on many regular symphony concert series. "Black Tambourine", on six poems of Hart Crane, is performed as a continuous 18 minute span. The cycle captures the wide range of moods of the poetry, from the madrigal-like trio of ‘Pastoral' to the tinkling salon piano of "My Grandmother's Love Letters".

Camberwell Now were formed in London in 1982 after the demise of This Heat featuring one of the founders of that group, drummer and vocalist Charles Hayward, bassist and vocalist Trefor Goronwy, who had joined This Heat to replace Gareth Williams after the latter had quit the band, and This Heat's former sound technician Stephen Rickard, who brought the studio to the stage with the revolutionary and possibly unique "tape switchboard".  In all, the band released one album, The Ghost Trade, two 12" EPs, MeridianGreenfingers, two tracks for the Sub Rosa Myths/Instructions album and a track for the Touch audio cassette/magazine. Most of this material was later reissued in CD form as All's Well by RecRec Music in 1992, and this compilation was remastered and reissued in November 2006 by ReR Megacorp. 

June of 44 is s an American rock band which was formed in 1994 from ex-members of Rodan, Lungfish, Rex, and Hoover. The band's music is often described as 'math rock'.  The band's name refers to June Miller, wife of author Henry Miller.  The band toured extensively and reached as far as Australia. Often referred to as the punk rock pirates of the math rock world, June of 44 were a collective from 1994–2000. All the members were living in different cities at the time. Often cited for their artistic hand crafted record packaging, June of 44 had six releases in as many years before members went on to form HiM, The Sonora Pine, Shipping News and Rachel's. This seminal band created music that ranged from experimental jazz to ambient dub to angular post punk.

A Minor Forest   was a San Francisco-based math rock band in the 1990s. They were musically related to the Louisville scene of post rock groups like Slint and had personal connections to the San Diego scene of Three Mile Pilot and related bands. Their songs had pop music, progressive rock, and punk rock influences and featured changing time signatures, sudden dynamic changes, silent pauses, unintelligible screaming, catchy, repeating melodic passages and absurd, in-joke titles. Their slogan was "A Minor Forest Supports the Destruction of Mankind." They formed in San Francisco in 1992 and, in addition to other smaller releases, put out three albums: Flemish Altruism (1996) and Inindependence (1998) on Chicago label Thrill Jockey, and So, Were They in Some Sort of Fight? (1999), a career-spanning compilation on My Pal God records. They played their last show on November 1, 1998 at Great American Music Hall in San Francisco.

The Swords Project was formed in late 1999 in Portland, Oregon. Under this moniker, they released an ep, 2001’s The Swords Project, which was followed two years later by their only full-length album, Entertainment Is Over If You Want It. In 2003, the band shortened their name to Swords. In 2006, the band announced they would be breaking up.

DOWNLOAD THE MP3s:

Thursday
Sep162010

TOOLS FOR URBAN NATURALISTS, PART 1

A quotidian scene from a parking lot in Los Angeles. A test of the macro capabilities of the iPhone 4 video camera.

Wednesday
Sep152010

ACCIDENTALLY SPRAYED

Accidentally Sprayed

by Gonzalo Escobar (2008)

From Gonzalo Escobar's Vimeo page:

Winged performers in the streets, armed with water sprays bottles, become a metaphor to the relationship between a Colombian filmmaker living in the United States and the aerial fumigations of coca crops occurring in his native country. Different perspectives of the topic are explored through images and sounds, but especially, through his opportunity to travel to southern Colombia, where the fumigations have been taking place. Aspects of documentary filmmaking are mixed with elements of the film essay genre. Animation, news, and found footage also take part of this visual and sonic collage that thrives to represent the filmmaker’s position and to some extent, the position of any viewer.

Gonzalo is the lead performer in my film Oh My Soul, and a good friend.  This video taught me a lot about the issue of crop fumigation in Colombia as well as strategies for investigating the social and political through personal filmmaking.  I hope he makes more soon!

Page 1 ... 5 6 7 8 9 ... 14 Next 10 Entries »