In The Embrace Of The Ledger: Art On The Blockchain

We've been hearing that the future of music is streaming. This may be so, it certainly looks that way. A future in which music is streamed and not owned looks to be here, but its current mode of delivery through central services that operate with heavy costs, from licensing to data storage to bandwidth is an animal that feeds off venture capital and music creators with a voracious appetite and has yet to prove profitable. Anyone who doesn't limit their listening habits to the Disney assembly line of future nervous breakdowns has been witness to much hand-wringing, rending of teeth and gnashing of garments or sommat over the economics of culture creation dissipating like a fog in the mid-day sun.

Observing the tense negotiations between indie labels and aggregators with Youtube, Pandora and Spotify many issues were brought up like a bad breakfast and chewed like a bitter, ever-repeating cud that couldn't be spat out. Politicians were lobbied, Youtube has yet to unveil their music subscription service and labels joined the streaming bandwagon, withdrew their releases from streaming and few of us would be surprised to see our finest artists show up as our roofer's apprentice or begging change downtown.

In the current mode of business there is no way artists could ever get a fair share of revenues created through music unless they have a proportionate ownership in all the companies involved. I had thoughts that perhaps what little cash we artists bring in should go directly into stock in Apple and Amazon, or establishing funds that invest in not-yet-public streaming startups to get a cut of the middle man's always disproportionate share of the still enormous amount of capital flow generated by music. Maybe one thing that prevents this is what music careers and startup tech companies have in common: the high early mortality rate of music careers and tech startups. You're taking the small gains from one high-risk endeavor and placing a bet on an uncertain proposition in another. But from the point of view of the middle men, maybe giving artists an equity stake would be a better position to negotiate lower rates. This would be a reversal of capitalist practice, though, for the hands that got dirty making the widgets have always gotten the smallest share of the value generated. And one may ask if what could happen to a successful cabal of small to mid-sized labels with ownership in delivery infrastructure be but another hegemonic gatekeeper.

The Art of Steven Leyba

In his words: 

To me the most personal creation is the most universal. Simply writing words is not enough. Books are a way culture preserves it's history but often times books are used to control the ideas and politics of society to restrict information. I seek to make books to liberate that defy control, censorship and simple definition and depict life in its totality. I see my hand made books as political reclamation of the natural world in its fecundity. I paint oil over acrylic over collage over anything I can find. I embellish the paintings with glass beads and organic material from the world around me literally putting the landscape and my DNA into the books. I have used dirt, coffee, hair, leafs, molasses, blood, urine, insects and anything I feel can give the book life from life. We are so used to having the synthetic and technological global culture define how we perceive ourselves, our bodies, our biology, and who we are, that when someone has a different point of view of the human experience and makes the commitment to put it in a book forever, it can be frightening and challenging yet very alive.
I embrace the reverence of the natural world that my Apache ancestors celebrated, one that focuses on the micro and macrocosms, nature, the reclaiming of forgotten and challenging symbols and all aspects of a life put into a book the moment it is happening.

Genesis P Orridge writes on SoLiteral,

...In spiritually volatile times such as this we, as a species, need to ask ourselves some searching and uncomfortable, even disturbing questions. The miraculous unfolding and ongoing survival of humanity against incredible environmental and climatic odds throughout the ages has been preserved, catalyzed, directed, inspired, mirrored and sanctified on our species’ behalf by the shamans, soothsayers, storytellers, sorcerers, wise ones, alchemical healers and (once upon a time) by the Artists of each age. These oracular beings fearlessly explore additional dimensions to those of mundane nonsensus everyday “reality”. They push the boundary of established social protocols, using the discipline of brutal self questioning to carry out an independent cultural autopsy on the often putrefying body of humanity during any given age. These courageous and often vilified individuals are essential to the psychic hygiene and mental health of the social order or civilization of their time.
As our ways of life have separated further and further from a balance with Nature, the role and prestige of these visionary gestalt therapists working on behalf of their community after an, often involuntary, initiation by near death experience, has been in decline. For around 2000 years these “creators” evolved from obsessed, possessed, magical shamans chosen by circumstance (not by self will) to artists still serving the Divine and the transcendental through the Church in the West and bureaucratic religions in general...

Look for a possible joint show between Leyba, James Curcio and the other Gonzomentary crew in Philadelphia in Spring or Summer 2013. Details here forthcoming as we find the right venue for what we are planning. If you are a venue holder in Philadelphia, feel free to get in touch. And also look for many more artist profiles here on Modern Mythology in coming months.

Meanwhile: What do you see as the role of artist, shaman or story-teller in the 'modern' age? Are they the same? 

[Where is the fucking counterculture? Mythos Media.]

Alchemical Alembics & Desert Wines - An Interview with Maynard James Keenan

Last year I had the opportunity to speak with Maynard James Keenan for a short Q & A that ran in Alarm Magazine. Keenan's work with the bands Tool, A Perfect Circle, and Puscifer have penetrated deep into the cultural consciousness, but it was another passion of his that provided the impetus for the article. In the heart of the Verde Valley he is currently developing the Arizona Stronghold Wines partnership, which includes development of Merkin Vineyards, and creation of his own winery, Caduceus Cellars.

In researching for the interview I came to realize that there's far more to what Keenan is doing with his wine craft than I'd first expected. A focus on community growth, desert permaculture, and sustainable, socially integrated business practices demonstrates a different side of Keenan's genius, which in other applications has allowed him to become one of the most successful artists in the contemporary music industry. There is also an esoteric component to his wine making, which is hinted at in the title for the Blood into Wine documentary produced a few years ago to introduce people to his vineyard and winery.

Through understanding the place history of the Verde Valley, Keenan is working with bringing to his wines the sense that they are literally transmuting the blood of those who have lived and died in the area, and whose work has made the desert community possible. With an awareness of how specific climates, soil types and other environmental factors affect the development of the wine, he has added an additional layer of cultural understanding which brings out a more subtle sense of what happens during the fermenting process.

Aptly named after Hermes' staff, Caduceus Cellars brings an alchemical approach to wine making that returns the craft back to its origins. Another way that Keenan stays true to this alchemical tradition is in his focus on renewing the society which supports his pursuits. One thinks of the legendary donations of Nicolas Flamel which are still remembered through street names and plaques in the areas in France where he was said to have provided for the community through his transmutations.  In a similar sense Keenan's work with the local community to not only create business, but also to build an infrastructure that supports further development, is a beautiful example of integrating all aspects of one's passion and craft into something that benefits everyone in the community.

The interview as it originally ran in Alarm was significantly shortened due to space requirements, and I am happy to have the opportunity to publish the unedited version here on Modern Mythology.

You’ve been involved in wine making and viticulture for a little over a decade now, haven’t you?

Yeah, pretty much, maybe a little bit longer. Right around 1999 is when I started messing around with orchards here. And broke ground for the actual vineyard  in 2002 I believe.

The Forbidden Book - A Review

"...the magician of (Giordano Bruno’s) De vinculis is the prototype of the impersonal systems of mass media, indirect censorship, global manipulation, and the brain trusts that exercise their occult control over the Western masses."

- Ioan Couliano, Eros & Magic in the Renaissance

For those uninitiated into the magical roots of heroism, Disinfo Books (now a division of Red Wheel/Weiser/Conari) recent publication of The Forbidden Book provides an interesting thought experiment dealing with the political and psycho-social intricacies of the heroic ideal and traditional philosophy of magic. Originally published in a Spanish language edition by Roca Editorial in 2007 as El Libro Prohibido, Guido Mina di Sospiro and Joscelyn Godwin’s novel is an important meditation on the potential political implications of esoteric practice.

In The Forbidden Book we are introduced to the Riviera della Motta family, an aristocratic family whose line has dwindled to three heirs, an uncle, Baron Emanuele Riviera della Motta, and his two nieces, Orsina Riviera della Motta and Angela Riviera della Motta. They are the last vestiges, in the imaginal world of the novel, of a lineage of Hermetic alchemists begun by Cesare Della Riviera, whose work entitled "Il Mondo magico de gli heroi" (The Magical World of the Heroes), was popularized, in our reality, by the 20th century Italian Magus Julius Evola.