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Thursday, October 4, 2018

Sub- #4093 & Sub- #2350 a DARK + LIGHT mix & A Mix Tape (of Punk & Stuff)

Sub- #4093
a DARK + LIGHT mix of
ambient & experimental
by Wheatboy Dave, 2.October.2018
Collective Brand Movement Studio
West Philadelphia

01. Nocturnal Emissions - The Well is Deep
02. Black Era - Out of the Tunnel
03. Pan Sonic - Johto 5
04. Nurse With Wound - The Self Sufficient Sexual Shoe
05. Monolake - Monolake - Phenomenon
06. Voodoo Tapes - Dangerous Business with Earlycrafted Juju Doll
07 Conrad Schnitzler - Blau Bonus 2
08. Igor Wakhevitch - Grand Sabbat Luciferien
09. Tod Dockstader - Apocalypse, Part 1
10. The Residents - Die in Terror
11. Nightmare Organism - Eye of Newt
12. Suicide - Dance 

01. MFM - New World
02. Labradford - Pico
03. Blanck Mass - Chernobyl
04. Boards of Canada - Olson
05. Tangerine Dream -White Clouds
06. Chris & Cosey - The Gates of Ancient Cities
07. Ellen Allein - Einsteigen
08. Coil - Driftmix
09. Bill Laswell - Shango
10. Peak - Train to roots (2:20pm)
11. Cluster - Marzipan
12. Growing - A Painting


Sub- #2350
a Mix Tape (of Punk & Stuff)
by Wheatboy Dave, May.2018
Collective Brand Movement Studio 
West Philadelphia

01. Yegor I Opizidenevshiye - Freedom
02. Ganzer - Comet
03. Erode and Disappear - Chaos Reigns
04. Moet the Poet
05. The C*nts - Chemicals in the Mail
06. Kontakt Mikrofon Orkest - Do the Residue
07. Northern Liberties - Mold
08. No Means No - Living Free
09. Skeleton Crew - The Hand that Bites/Dead Sheep
10. The Red Krayola - Hurrican Fighter Plane
11. Tuxedomoon - Desire

01. Joe Jack Talcum - Dean’s Dream
02. Grauzone - Träume Mit Mir
03. Human league - The Black Hit of Space
04. Hit Parade - Here’s what you find In Every Prison
05. Flag of Democracy - Shatter Your Day
06. Buzzcocks - Everybody’s Happy Nowdays
07. Alien Sex Fiend - I walk the Line
08. Der Plan - Gummitwist
09. The Deadbeats - Kill Hippies
10. Neil Young - Sample and Hold
11. The Huns - Busy Kids
12. King Horror - Lock Ness Monster
13. Russian Meatsquats - Russian Meatsquats
14. Rich Kids on LSD - Think Positive
15. PexbaA - Nognic

Monday, October 1, 2018

Sub- #4048 & Sub- #2320 Wheatboy Dave's Italo/Electro Party Mix Tapes

Wheatboy Dave's Lava Lamp
Italo/Electro Party Mix Tape
August 2018, West Philadelphia
Collective Brand Movement Studio
Sub- #4048

01. Memory Control One - Basic
02. Quartz - Chaos
03. Savage - Fugitive
04. Angie - Clouds
05. Betty Miranda - Dance
06. Trinere - All Night
07. Venus - Hot Sun On Video
08. Cerrone, Brigade Mondaine, Integrale - Phonic
09. Giorgio Moroder - Evolution

01. Kano - I'm Ready
02. The Michael 'Zager Band - Let's All Chant
03. Charlie - Spacer Woman
04. Lime - Angel Eyes
05. Claudio Mingardi - Star
06. The Immortals - The Ultimate Warlord
07. Grant Miller - Colder Than Ice
08. Creative Connection - Scratch My Name
09. Decadance - On and On


Mix Tape Electro & Italo  
May 2018 - West Philadelphia
Collective Brand Movement Studio 
Sub- #2320

a. Ceephax - Flight of the Condor
b. Beppe Loda & Marco DJ - Sognado
c. Beppe Loda & Marco DJ - Acid - O
d. Macho Cat Garage - M - Invasion
e. Laserdance - Humanoid Invasion 
f. Angie - Clouds
g. Betty Miranda - Dance
h. The Immortals - Ultimate Warlord

a. Legowelt & Orgue Electronique - Mr. Jims Nightclub
b. Bangkok Impact - Masters of the Universe
c. Bangkok Impact - Junge Dame Mit Freundliche Telefonstiman 
d. 8 bit Rockers - Untitled 03
e. Charlie - Spacer Woman
f. Koto - Vistors
g. Night Moves - Transdance
h. Neil Young - Sample and Hold

Thursday, September 20, 2018

Sub- #2656, A Mix Tape by Wheatboy Dave

Sub- #2656
A Mix Tape by
Wheatboy Dave

West Philadelphia

01. Akkolyte - Do you know?
02. Bread & Water - Someday Could Be Today
03. Dairy Queens - Crow
04. Septic Tumor - The Way You Think
05. Brother Inferior - Commodity
06. Black Kronstandt - Max Sloan/Atom Nuclei (The Free Spirit)
07. Cress - Man’s Laughter
08. Oi Polloi - When Two Men Kiss
09. Anti Product - World Without Lines
10. Los Crudos - La Caída de Latino America
11. Cojoba - Vienen por Nosotros
12. Flux of Pink Indians - Tube Disaster
13. Body Count - There Goes the Neighborhood
14. Plasmatics - Headbanger

01. Akkolyte - Hell on Earth
02. Unconscious Collective - Gemini Croquet
03. Yells at Eels - Bandoleros en Gdansk
04. The Art Ensemble of Chicago - The Key
05. Sun Ra - Disco 3000 (excerpt)
06. Miles Davis - Dark Magus, Wili
07. Rufus Harley - Eight Miles High
08. Alice Coltrane featuring Pharaoh Sanders - Journey In Satchidananda
09. Sonny & Linda Sharrock -Peaceful

Thursday, July 12, 2018

Victims of Globalization

Kennard/Phillips, Photomontage, 2005 (appeared in: Art & Agenda: Political Art & Activism, by Silke Krohn, published by Die Gestalten Verlag 2011)

Victims of Globalization
Topics in Contemporary Visual Culture

David Stanley Aponte
September 2009

In “The Violence of the Global,” Jean Baudrillard says that “Any culture that universalizes loses its singularity and dies.” I believe that the values and essence of the human spirit are being stamped out and homogenized into a generic pulp of conformity. Globalization impedes the progress of humanity but promotes the illusion that progress has been reached. In reality humanity is de-evolving and will extinguish itself. The universal is disappearing, according to Buadrillard, and the sense of value no longer drives our actions. People act as if they are taking some sort of drug that distracts them from their own inhumane acts. Instead of taking responsibility for personal or national actions that promote globalization, people continue to consume and live their comfortable lives. The only opposition people show are those that safely keep them from being marginalized, because globalization eliminates or pushes away any anomalies to the borderland. 

In order to function in a culture that pursues the agenda of globalization, we need to embrace a certain sense of consumerism. We may oppose to certain things that our government is doing, we still must take part in the globalized society. Theoretically, if everyone banded together and objected, the system could be shut down, but it is safer to stay at home. It is easy to complain about the atrocities of the American oligarchy and still participate as a good consumer. Ideology does not matter. Everyone contributes to the strength of the globalizing force that is the U.S.

Television and the controlled media system creates the spectacle that advances globalization through advertising. Programs lowers entertainment to the lowest common denominator much like profound universal “truths” have been distilled to slogans. Nothing outstanding can exist in this system.
Baudrillard says “discrimation and exclusion are not accidental consequences; they are part of the very logic of globalization.” With globalization, anything eccentric is pushed to the borders and something homogenized owns the middle ground. In the same way that gentrification will push all the “undesirable” elements of society like the poor, ill, old, and ugly move to the edges. And then they are moved again.

This happens in the art world. Artists who have not conformed to the spectacle and commodity of current marketable trends in art world suffer because of their individuality. Once they die, they are often conformed to the art world and become the flavor of the day. A retrospective of their work is held and they are honored. “It is paradoxical to make a retrospective survey of a work which never intended to be prospective.” (The Ecstasy of Communication by Baudrillard)

Another way that globalization pushes aside the nonconformist is in the way that pop culture synthesizes the lowest common denominator of musical expression that people will buy. A band is engineered and reaches out to the masses. Musicians can be exploited and reduced to something easily digested by the populace. John Cage has made music that is impossible to push into the mold of globalized culture. His randomness cannot be successfully blended and homogenized and put on MTV. 

The violence of the global eliminates criticism. After the terrorism of September 11, no one could criticize the actions of the U.S. without vilification. No allowance was made for anyone who thought that the U.S. may have been responsible for the violence against it. In fact, those people would be profiled and labeled as a terrorist-sympathizer, much like the so-called Communists during the McCarthy era. Certainly artwork that criticized the war was unpopular for some time after the terrorist act.

There is no room in globalization for anomalies. Due to globalization, genuine activism has been hidden by the lack of true journalism, since media is globalized and detests the eccentricity of protest. Even when a half million people protest the war, the media downgrades the numbers. Violence in protest will not receive the proper media attention. Globalization has killed the activist. This is the violence of the global.

Baudrillard says that singularities, extreme acts, can stop the system of globalization. I disagree with this. The terrorism of September 11 assisted the forces of globalization as furthered by the Bush administration, more than it crippled that power. It gave the administration an excuse to send troops into Afghanistan and Iraq and strengthened the forces of Globalization. It caused torture to be normalized. It diluted values. 

Filippo Minelli, Contradictions, 2010, Brescia Italy (appeared in: Art & Agenda: Political Art & Activism, by Silke Krohn, published by Die Gestalten Verlag 2011)

Tuesday, July 3, 2018

Response to the Work of Olafur Eliasson

David Stanley Aponte
25 Febuary, 2009

Olafur Eliasson, Succession, 1998

In the book, Olafur Eliasson, (Madeleine Grynasztejn, Daniel Birnbaum, Michael Speaks, Phaidon 2002) Daniel Birnbaum asks the artist about the way he brings the bystander into the work. Eliasson says that the moment the viewer sees the mechanics of his illusions, it creates an “aha” moment. This is the point in which the observer is reminded that they contribute to the experience in a unique way. All the meaning of the piece depends on who the viewer is and their location within the piece. 

When a work of art can draw in a viewer and cause them to interact with it, some kind of education occurs. Even though Eliasson is not a philosopher, his work evokes a philosophical response. He invited the observer to consider the environment in a different way by controlling the perspectives from which they will view. 

A good example of a piece where Eliasson relies on illusion is in “Succession” (2002) displayed at the Art Institute of Chicago. The viewer sees a grassy lawn on the second floor of the Art Insitute. Inside the museum it looks like a nice lawn is growing outside. But at the next window, the viewer sees that the lawn is not really there but is suspended on the train depot. The viewer may say that the lawn is unreal, but Eliasson considers this the most real part of his work.
In the same interview with Birnbaum, Eliasson expands his idea of what reality is by referring to the reconstruction of the early 20th century skagen village (like Williamsburg, VA) is less real than the Legoland copy of a skagen. The Legoland skagen village does not claim to be “real” and therefore is more real. The display of the Liberty Bell in Philadelphia, for example is less real than the postcard of the liberty bell that is in the shop.

In “F for Fake,” Orson Wells offers a documentary about an artist who forges famous paintings and sells them to collectors as authentic. Wells pointed out that Picasso was known to claim that his “real” work was forged and that forged work was his “real” work Wells investigates whether or not it is important to determine authenticity. If a curator determines that a work is “authentic” then the work is considered genuine. But this determination in some sense is arbitrary. Once again, reality is contrived.

Eliasson helps people understand that the world and most particularly by museums contrive reality. Another example of this idea can be found in Eliasson’s piece “A Very Large Ice Step Experienced.” Several ice blocks are laid inside the museum within a box where the people passing will see a disappearing art installation. The same blocks laid out on the lawn of the museum were ignored or at best thought of as peculiar litter. The location determined whether or not it was considered art.

Duchamp’s piece, “The Fountain” approaches the idea of art in the museum from another perspective. “The Fountain” was rejected by as a work of art because people saw a urinal on its side. Duchamp was taking the literal essence of the “ready-made” as a piece of art and challenged the restrictions on the definition of an object as art. 

Eliasson takes this into another dimension. The ready-made has been accepted. Eliasson’s melting ice is art because it is within a display. Many people passing the same blocks in the grass do not see them as artwork. While Duchamp questions the definition of art, Eliasson points out that the specific context and location of art in a museum makes them art. Sometimes the visitor to the museum can find more interesting objects of art on the way to the building than they find within the museum.

In addition to addressing the location of art within a museum, Eliasson also confront the concept of art as experience. There can be no pictures of Eliasson’s work that will adequately allow a person to understand the concepts. The viewer sees a performance by water and light that cannot be duplicated by words or photos. Eliasson eloquently explains his work and readily engages his audience. In his letter to the viewer, Eliasson stretches the visitor to consider the possibility that the weather and uncontrollable events around his show were intended to be parts of it. 

Eliasson’s works are performance pieces that move the viewer’s perception beyond themselves. A good example of this is in the piece “Your Sun Machine.” Natural light comes into a room through a hole in the ceiling. Often a viewer says, “The sun is moving around the room.” Of course the earth is moving around the sun. In this way Eliasson’s work can be described as Copernican. His pieces not only illustrate scientific principles that interested that scientist but are “profoundly important or far-reaching.”

Olafur Eliasson, Your sun machine, 1997

Thursday, June 14, 2018

Van Gogh, the Man Suicide by Society - Antonin Artaud ::: With Portraits

David Stanley Aponte, Van Gogh, digital print on paper, 2013

David Stanley Aponte, Drinking Absinthe with Van Gogh, spraypaint and acrylic on canvas strips on wood, 2010-2014 (detail)

David Stanley Aponte, Drinking Absinthe with Van Gogh, spraypaint and acrylic on canvas strips on wood, 2010-2014

David Stanley Aponte, Van Gogh, Tattoo by Kevin Riley, 2009

Saturday, May 19, 2018

33 Owls

David Stanley Aponte & Jordan Graw, Wendigo, photograph, 2010, photo taken by David Walker in West Philadelphia

Part of my masters thesis in graduate school involved 33 owls. They were featured in a large photograph that was displayed in the museum of the the Pennsylvania Academy of Fine Art and after i graduated with my masters in 2010 I had moved the owls with me from place to place Philadelphia. When I moved to Berlin Germany the owls lived with my parents in Lancaster Pennsylvania and moved with them to Indianapolis Indiana. In 2014 I had moved back to Philadelphia Pennsylvania and 30 of the 33 owls lived in the basement of the Cedar house (X93X) and three owls lived in my studio on the 3rd floor. Starting in 2015-2016 i started giving owls to different venues and promoters in the Philadelphia as gifts when I attended events and when I didn’t give an owl as a gift I would give a fresh pineapple from a West Philadelphia fruit truck. I remember distinctly giving owls to WKDU, the Mothership, The Eris Temple, 52hz, Beaumont Wherehouse, Fort Tinder, Soundhole, Lava space, Berks warehouse, Ahimsa house, The Farm, A-Space, Satellite cafe, Spruce Caboose, Fuime, The Vat, Lacquer, Hot yoga Philadelphia, Inciting hq, Kungfu Necktie (upstairs), just to name a handful and many more places that were hosting events. One more owl with a broken beak was placed on the traffic box on the northwest corner of 49th and Catherine Street in front of the Bar(n), which was taken by one of the employees of Dock Street who had just gotten off shift to drink at the bar.

The owls themselves have many different meanings to me, first of which is that the goddess Athena’s friend and sidekick is “Athene Noctua” the owl. As a child in Catasauqua Pennsylvania I made a pledge to the universe to seek wisdom in life so Athena and the owl became later symbols of this youthful pledge. My father had gotten his masters and doctorate in cultural studies and ethnology from Temple University, had taught there as well and Temples mascot is the Owl that accompanies the Temple of Athena that is on their crest. 

Later as a late teenager in the 90’s in Chicago Illinois I had watched the TV, “Twin Peaks” and I remember the character “the log lady” saying the infamous line “the owls are not what they seem”, so the owl becomes a meme and a bit of a jest. Over all the owl became a symbol of knowledge, wisdom alluding to a strong female presence watching over me and i tried to take it back from the negative context that the owl has in our culture. 

Actually the owl itself has a kinder memory in my childhood as being a character in “Winnie the Pooh”. The owl as a night creature is also often sees what most can not see at night so to me it becomes a symbol in night parties of the techno world of night time raves and parties. I always felt if there was an owl in the room at a show or party then I felt safe as if the goddess Athena was watching over me and protecting me from negative energy and negative people. 

The last aspect of the owl is as an object to scare away squirrels. When I lived in the Cedar house in West Philadelphia from 2014-2018 squirrels had broken in and made home in the wall of my studio and bedroom. They made a lot of noise often between the times of 5-6 AM until 8pm everyday. I started to attempt to plug up the holes they where getting the wall from the outside by making holes in the drywall of the studio to reach the outer holes. This caused at one time a squirrel to enter the studio which I managed to corner and to catch wearing a work glove on my hand and the squirrel was released unharmed outside. Using peanut butter and a squirrel trap borrowed from a neighbor in a two week time frame I had caught seven squirrels from the roof of the Cedar house. We released the squirrels out in Bartrams Gardens which was far enough away that they didn’t cross back to Cedar Park. In the end I don’t think the owls worked in keeping the squirrels away.

-David Stanley Aponte, 19.May.2018, Collective Brand Movement Studio, West Philadelphia